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Complete Guide to 

DANCING 


A complete guide to all modern 
dancing steps—Also to the dances of 
the past generation. Contains Ball¬ 
room Etiquette, Quadrille Calls, and 
complete explanation of the various 
steps used in the old as well as new 
dances. 




By 

HELENE DAVIS 


Reg’an Publishing Corporation 
77 W. Washington Street Chicago 









Copyright 1923 
HELENE DAVIS 


J'JL Q ’23 


©C1A7520G3 




COMPLETE GUIDE TO DANCING 
BALL ROOM ETIQUETTE 
AND QUADRILLE 
CALL BOOK 













CONTENTS. 


Preface .... t 

Deportment .. 

Etiquette for the Ballroom.* 

Introductions . 

Asking a Lady to Dance.. 

The Bow... 

The Curtsy .. 

Grand Promenade . 

Useful Hints . 

Preliminary Directions to Become a Good 

Dancer . 

The Five Positions.<. • 

The Modern Dances.... 

The Two-Step ... 

The Waltz ... 

The Hesitation Waltz ... 

The Side Hesitation. 

The Lame Duck . 

The Argentine Tango . 

The Fox Trot . 

The Fox Trot Walk. 

The Jazz Roll . 

The Tango Fox Trot. 

The Society Walk. 

The Walk Around . 

The Wesleyan . 

The Two-Two . 

The One Step . 


9 

11 

15 

17 

18 
19 

19 

20 

24 

25 

29 

30 

30 

31 

34 

35 

36 
36 
39 
39 


40 

41 
43 
43 

43 

44 

45 


5 






























6 


CONTENTS. 


Glossary of French. Terms. 47 

Quadrille or Square Dances. 49 

Explanation of Terms used in Square 

Dances . 50 

Two-Step Quadrille . 56 

Plain Quadrilles . 58 

The Quadrille . 59 

Varieties Quadrille . 61 

The Lanciers . 62 

The Caledonians . 65 

Williams’ Presidential Polka Quadrille.... 67 

The Prince Imperial. 68 

The Waltz Cotillion. 71 

The Alberts . 72 

La Nationale . 72 

The Galop . 74 

The Polka Mazurka . 75 

The Collegians . 76 

Standard Lanciers . 77 

Deer Park Lanciers . 79 

The Mignon . 81 

The Valse Minuet. 83 

The Virginia Reel or Sir Roger DeCoverly 86 

The Carnival . 88 

Columbia Lanciers . 90 

Military Lanciers . 93 

Polka . 95 

The Spanish Waltz . vl 

Berlin Polka . 98 

Waltz Quadrille .. 101 

































CONTENTS. 


7 


Heel and Toe Polka. 102 

Contra or Country Dances. 103 

Round Dances . 104 

Alsatian Polka . 105 

The Girl I Left Behind Me. 107 

Old Dan Tucker . 107 

Money Musk . 107 

Noveltina . 108 

The Schottisehe. 110 

Barn Dance . 112 

The Military Dip . 113 

The Highland Schottisehe. 115 

The Graziana . 116 

The Migionette . 119 

American National Lanciers or Saratoga.. 122 

The Varsoviana. 124 

The Minuet De La Cour. 126 





























PREFACE. 


“On with the dance” is the cry of today. We 
start it when we are just old enough to toddle 
and are still crying it when we are so old we 
can do nothing but toddle. Nevertheless it is 
a sign of sanity and good sense, which we 
Americans show in our enthusiasm over danc¬ 
ing. It is a sign that we are not “old fogies” 
who fail to recognize that dancing is a clean and 
wholesome play. And so we play hard, just as 
we do everything else hard. 

The present vogue of dancing is not a fad but 
a natural reaction resulting from the long-time 
condemnation of dancing. We are taught by 
educators to encourage self-expression in chil¬ 
dren—why not in adults? In barring dancing 
from the world, we would bar one of our su¬ 
preme human expressions of happiness and ex¬ 
ultation. 

It is true that there have been dances which 
deserved all of the abuse they received; but 
those died a natural death, because more at¬ 
tractive dances have been offered in their places. 
In the same way will the objectionable features 
of modern dances be cast aside as the dancer 


9 


10 


GUIDE TO DANCING. 


becomes more of an artiste and less of a con¬ 
tortionist. 

In studying the new dances a frequent change 
in both names and steps will be noticed, and so 
in order to avoid confusion the most influential 
teachers have decided to simplify and standard¬ 
ize the steps. Following this course the author 
has selected for this book a complete list of the 
steps that have established for themselves a per¬ 
manent place on the dance floors of smart so¬ 
ciety. 

The steps composing the new dances have no 
set order but are performed at the caprice of the 
leader or on the suggestion of the music. Nor 
has the number or variety of steps reached its 
limit. Each leader is free to adapt the steps of 
one dance to those of another, or to invent new 
steps, thus giving free reign to his individuality. 

The purpose of this book is twofold; first it 
seeks to explain in the simplest possible terms 
the fundamentals of ballroom dancing; second, 
it proves that dancing, correctly done is neither 
vulgar nor immodest, but refined, graceful and 
modest. 



} 1 C 1 


COMPLETE 

Guide to Dancing 

BALLROOM ETIQUETTE AND 
QUADRILLE CALLBOOK. 


DEPORTMENT. 

A suitable deportment is the proof of good 
education and habitual sense of order; it height¬ 
ens the value of and is indissolubly connected 
with dancing, and must be noticed here. 

Gallini has written an excellent paper on this 
subject, which I am sure I shall gratify my read¬ 
ers by quoting. He says, “Of how many cap¬ 
tivating graces is not the deportment suscepti¬ 
ble where a proper care is taken of improving 
the gift of nature? And in what does a grace¬ 
ful deportment consist but in holding up the 
head without stiffness, and keeping the body 
upright without affectation? 

“When once a habit of easy dignity with an 
unaffected air of politeness has been sufficiently 
familiarized, it will constantly show itself in 
even the most indifferent gesture or action of 
the possessor; and only the more so for his be¬ 
ll 



12 


GUIDE TO DANCING. 


ing unconscious and insensible of it. Does he 
come into a room, his air immediately strikes 
the company in his favor, and gives a prepos¬ 
sessing idea of his advantage. He will then 
have nothing to do but to keep up the impres¬ 
sion he will have made. 

“But how great, how cruel an injustice do 
young men do to themselves, who, not only 
advantaged by a distinguished birth, but withal 
by a most regular figure, lose, or at least greatly 
lessen, the effect of those advantages by a gross 
and unpardonable neglect of their manner of 
deportment. Some you will see with an ignoble 
slouch, others turning their toes inwards, some 
again, with an awkward management of their 
limbs, and many, with these and other defects, 
not knowing how to walk, sit, stand, or do any 
one action of life with grace or propriet} 7 . Speak 
to them, they answer either with a booby bash¬ 
fulness, or, worse, with a forward pertness. Ask 
them to sit down, some will just stick them¬ 
selves on the corner of the chair, others leaning 
on the back of it as if glued to it. If a bow is 
to be made, it is with scraping, or with shaking 
the head, or throwing it in your face. If a curt¬ 
esy, the young untutored lady hangs her head, 
and makes her obeisance with her eyes fixed on 
the ground, or pokes out her head, sticking back 
her arms, like one of the figures in Hogarth's 


GUIDE TO DANCING. 


15 


dance. Their gait in walking is conformable to 
all this, disagreeable and unsightly.” 

There are persons who flatter themselves that 
they possess a graceful and easy deportment in 
dancing, and who weary and disgust their unfor¬ 
tunate friends by the eternal repetition of the 
most vehement and ridiculous tricks which they 
are pleased to designate deportment. They 
frequently extend the arm, striking the air as 
if they were sawing, holding their partners so 
that it is impossible for them to dance, elevating 
their shoulders or throwing them back, clapping 
their hands, stamping their feet, and generally 
caring for no one else but themselves. All 
these actions, which are chiefly met vdth among 
very lively persons, are tiresome and disagree¬ 
able, and as such can only be classed as the little 
contrivances of a numerous class, who, lacking 
all real knowledge, think thus to distinguish 
themselves. 

We are now naturally led to ask where guid¬ 
ance or models of deportment may be best 
found. 

A graceful deportment appears at first so 
simple, easy, and natural that it seems imper¬ 
tinent to lay down rules for it. The manner 
and style, moreover, of good society can never 
be acquired from books. There are, however, 
a few rules (subject to many exceptions and 



14 


GUIDE TO DANCING. 


variations, without the slightest discredit either 
to nations or individuals) which may be termed 
its more material conditions. It then remains 
for every one, by disposition and by natural 
grace, to supply the last finish. 


ETIQUETTE FOR THE BALLROOM. 


The conduct of parties attending a ball should 
be governed by such rules as shall insure the 
entire company an evening of pleasure. 

In dancing quadrilles a quiet walk is all that 
is required. Do not make any attempt to take 
steps. 

Avoid slang phrases. 

Do not attempt a dance with which you are 
not familiar. 

Do not romp in dancing, nor on the other 
hand assume a solemn expression. Let your 
face wear a pleasant appearance, though not a 
simpering smile. 

Do not make a grand rush for places. 

Do not forget to thank your partner after 
seating, for the favor she has bestowed upon 
you. 

Do not hold the arms or body stiffly. 

Do not wait until the music is half over be¬ 
fore selecting a partner. 

It is the duty of a gentleman having place in 
a quadrille to have his lady with him. Other¬ 
wise he forfeits his place. 


15 


16 


GUIDE TO DANGttNG. 


In passing through a quadrille let your dis¬ 
engaged arm hang easily at the side. 

The hostess or the master of ceremonies is 
privileged to ask any lady or gentleman whether 
he or she wishes to dance, and procure partners 
for all who desire to dance. 

When a dance is over, a young lady is priv¬ 
ileged to wander with her escort through the 
drawing rooms and to accept a glass of punch, 
or the man may present his right arm and lead 
her to a seat selected by her. 

ENTERING THE BALLROOM. 

The gentleman, having escorted his lady to 
her dressing room door, and having sought his 
own, should arrange his toilet as quickly as pos¬ 
sible, and return to the ladies’ room, where his 
lady will join him at the door, and accompany 
him to the ballroom. 

When entering the ballroom a lady invariably 
precedes a man, even if he is her father, and he 
does not offer his arm. Arrived before the host¬ 
ess, they exchange greetings with her in the 
same degree of warmth or formality that her 
bearing invites. 

A lady should never promenade the ballroom 
alone, nor enter it unaccompanied. 

A gentleman should always dance first with 
his partner, and is also under obligations to 


GUIDE TO DANCING. 


17 


her for the first dance after supper, as well as 
the last number on the programme. 

INTRODUCTIONS. 

Persons giving a public ball should select at 
least six or eight ladies to form an Introduction 
Committee. Upon this committee depends much 
of the enjoyment of strangers. It is the duty 
of each member to see that all persons have 
partners for each figure on the programme. 

Should a gentleman request a dance from a 
lady prior to an introduction, the lady should 
not refuse with an excuse of previous engage¬ 
ment, for in so doing, she would betray very 
slight knowledge of ballroom etiquette. The 
correct answer would be: “I would be much 
pleased to accept your kind invitation if you 
would procure an introduction.” 

In escorting a gentleman to a lady for an in¬ 
troduction, offer the gentleman your arm. Care 
should be taken to pronounce names distinctly. 
Should a name be indistinct to one, that one 
should say at once, ‘‘I beg your pardon, I did 
not understand the name.” An inferior should 
be introduced to a superior; a gentleman to a 
lady, as: Miss Sweet, permit me to present Mr. 
Blank to you. 

When introduced to a lady, be particular how 
you ask her to dance, and the manner in which 
you acknowledge the introduction. Ladies are 


18 


GUIDE TO DANCING. 


susceptible of first impressions, and it depends 
a good deal upon the manner of presenting 
yourself, whether they are agreeable or not. 

ASKING A LADY TO DANCE. 

In asking a lady to dance, take position di¬ 
rectly in front of her, bend the body slightly 
forward, and respectfully say: May I have the 
pleasure of this dance? or, May I have the 
pleasure of a number on your programme? 
Should she answer “she is engaged,” he should 
thank her and ask for some other dance for 
which she is not engaged. No lady will refuse 
to dance without giving some good reason for 
her refusal. In taking place, a gentleman 
should offer the lady his arm. 

If a gentleman wishes to dance with a lady 
with whom he is not acquainted, he should po¬ 
litely ask the hostess or the master of ceremonies 
for an introduction. 

One of the first duties of every man at a ball 
is to invite the hostess, the hostess’ daughter or 
special guest to dance. 

If it is a ball where programmes are used, it 
is quite proper for a man, after having been in¬ 
troduced to a woman, to ask her for a dance, 
register her name on his card and vice versa, 
and excuse himself to go on to others to ask 
dances of them. 

It is both indiscreet and ill-mannered to dance 


GUIDE TO DANCING. 


19 


too frequently with one man, or to sit with a 
man in an obscure corner. The ballroom is not 
designed for the purpose of making love. 

THE BOW. 

The old fashioned bow and curtsy are almost 
obsolete, and are only used in the square dance. 
They are described below however, for the sake 
of completeness. 

To execute a bow in dancing step the left 
foot to the side about ten inches, at the same 
time turn, facing partner, and draw the right 
foot up to first position, heels touching, and 
should simultaneous^ incline the body forward 
at the hips, without bending the knees, eyes rest¬ 
ing to the floor about six feet in front, assume 
erect position, step w T ith the right foot back to 
second position, turning to face center, and close 
the feet, two bars. 

“A lady never makes the bow.” 

THE CURTSY. 

The curtsy in dancing is made thus: step 
right foot to side and pass left foot in a semi¬ 
circle to the back (fourth position) until it rests 
upon the toe and ball, and at the same time 
bend the knee of the standing leg, incline the 
body forward, straighten the standing leg, and 
gradually draw the advanced foot to its correct 
normal position. 


20 


GUIDE TO DANCING. 


The depth of a curtsy is regulated by the 
placing of the fore foot. The proper distance 
for adults is twelve to fifteen inches apart. 

GRAND PROMENADE. 

It was customary in the past to commence the 
dance of the evening with a grand promenade 
or march. Today, however, this is seldom the 
case, except in the event of a very large and 
very formal ball. Should the company be late 
on arriving this may be deferred until later 
when more are present to take part. The march 
should be led by a lady and gentleman who un¬ 
derstand the details of each figure or change. 
A second gentleman fully acquainted with the 
changes should be placed at one end of the room, 
where each figure is commenced, to act as 
prompter, his duty being to see that each couple 
preserve uniformity of action throughout the 
march. 

Care should be taken not to give too many 
figures, making the march wearying and tedious. 

The three or four figures given here will be 
found very effective and quite sufficient for 
length. 

The march in file: 

After promenading around the room until all 
have formed into a circle around the room, the 
leaders turn and march up the center of the 
room, and on reaching the top, the gentlemen 


GUIDE TO DANCING. 


21 


should turn to the left and the ladies to the 
right, each gentleman following in single file, 
and each lady her leader in like manner. On 
arriving at the bottom of the room the ladies 
should pass to the left of each other, the gentle¬ 
men marching around the room on the outside 
of the ladies and the ladies inside. When the 
gentlemen meet their parties at the top of the 
room they form in couples again and march 
around the room to the right. 

Grecian cross: 

First couple lead the march up the center of 
the room, about six feet apart, to within six feet 
of the center, separate, turn facing the sides of 
the room, ladies march to the right, gentlemen 
to the left. On reaching the side both turn 
one-quarter facing the top of the hall, march 
four steps forward, turn one-fourth facing part¬ 
ners and center of room, and march to center, 
turn one-quarter and march about six feet 
apart. On reaching the top of the hall ladies 
turn to the right and the gentlemen to the left 
and circle around to the back. 

Figure number three: 

First couple lead up the center to the top, 
ladies turn to the right, gentlemen to the left. 
The ladies lead round and round the room, each 
time passing inside the former, until the coil is 
very small, then the leader turns short around 
to the left and retraces her steps between the 


22 


GUIDE TO DANCING. 


coils until all the coils are unwound. While the 
ladies are forming the coil the gentlemen march 
across the top of the hall, on reaching the side 
turn and advance two steps, turn one-quarter 
and march back to center, turn one-quarter 
and advance two steps, turn and march to side. 
Continue marching across and back until you 
reach the bottom of the hall. The lady and 
gentleman should guide their work so they 
meet at the bottom and march up through the 
center together. This figure may be repeated 
by the gentlemen making the coil and the 
ladies marching across and back. 

Figure number four: 

All march around to the bottom, stop, join 
hands and raise them, forming an arch. The 
second couple pass under the arch, stop and join 
hands. Third couple pass under both, and so 
on, each couple passing through and forming 
the arch until one continuous arch has been 
formed. All stop, separate about six feet apart, 
the leader signals the music to change into a 
waltz, and leads off the waltz down between the 
lines followed by each one in turn and around 
the room. 

Many prefer the “quadrille,” or “Sicilian 
circle,” in place of the waltz, for the finish. 
Should you wish to form into either the qua¬ 
drille or circle, march around the room and 
down through the center, four abreast, to the 



GUIDE TO DANCING. 


23 


top of the room, all stop and at a signal for the 
music to change, first and fourth couples face, 
second and third step to the sides in the forma¬ 
tion for a quadrille. If you prefer the circle, 
continue marching around in a circle, four 
abreast, until the couples are compact enough to 
form a circle, at a signal for the music to 
change, the first four should turn half around 
facing the second four, third four facing the 
fourth, etc. The odd couples turning around 
facing the even couples. 

The prompter will give the changes as fol¬ 
lows: 

Right and left across, four bars. 

Back again, four bars. 

Balance and turn partner, four bars. 

Ladies change, four bars. 

Forward and back, four bars. 

Forward and pass through to next set. 

The couples must strictly confine themselves 
to their set. 

There are many other figures that can be 
given, as the anchor, crescent, star and dia¬ 
mond; but figures of this kind require some 
drilling, and all turns must be made precisely 
at the same place. 

The kaleidescope will be found very pretty 
for the opening of the dance. 


24 


GUIDE TO DANCING. 


USEFUL HINTS. 

One of tlie greatest obstacles a master has to 
contend with in teaching adults is the unwill¬ 
ingness they so frequently display in surmount¬ 
ing imaginary difficulties. I say imaginary, 
for, in nine cases out of ten, it is so. The chief 
reason for this is that they will not take the 
trouble to understand what they are doing, 
either as to the form the movement should take 
or the positions necessary to perform it correct¬ 
ly. These persons are actually working in the 
dark, as the feet are suffered to move in any 
direction that chance may take them, instead of 
that which would at all times ensure success. 
But this cannot possibly be achieved if the mind 
is uninformed. I hope this hint will have due 
weight with all those who are really anxious to 
learn, for I can confidently assure them that 
their progress will be far more rapid and their 
performances more creditable. 

My advice is, to endeavor to see a motive for 
every step you are shown. In other words, let 
the brain educate the feet, they will then per¬ 
form their office naturally as a consequence. 

How should I dress? This is a question that 
is often asked by pupils. I do not think I can 
reply more concisely than by saying, ‘ ‘ As neatly 
as possible .’ 9 A lady’s dress should be com¬ 
posed of light material, or taffeta, if informal, 
of silk, satin, velvet, or brocade, if formal. For 


GUIDE TO DANCING. 


26 

men, the tuxedo has almost replaced the “full 
dress ’ ’ and is now in good taste at a formal ball. 
In mid-summer or at very informal dances 
white flannels are quite appropriate, or a dark 
business suit. 

PRELIMINARY DIRECTIONS TO BECOME 
A GOOD DANCER. 

READ THE DESCRIPTIONS CAREFULLY. 

In order to derive the full benefit of these les¬ 
sons, read the descriptions thoroughly. They 
are essential. They are very simple and exact 
and will teach you how to do each movement. 
You will learn quickly if you will read and heed 
these directions. 

LEARN ONE STEP AT A TIME. 

Dancing, like anything else to be well done, 
can not be acquired all at once. And the things 
we enjoy are the things which we do well. 
Therefore let me warn you at the beginning to 
take your steps slowly and do them well. When 
you have mastered one step, then is the time to 
begin another. Remember that “Practise 
makes perfect .’ 1 

KNOW YOUR FIVE POSITIONS. 

You have probably noticed that some people 
look better than others while dancing. Do you 
want to be one of the good looking kind? If 


26 


GUIDE TO DANCING. 


you do, learn the five positions thoroughly so 
that your feet will be correctly placed while 
dancing. There are only five correct positions 
and so you can see how easy it is going to be to 
dance the correct way. 

GAIN THE CONFIDENCE OF YOURSELF AND YOUR 

PARTNER. 

In order to gain the confidence of yourself 
and your partner, know what you are going to 
do and do it. With knowledge comes confi¬ 
dence, and when you know that you have 
learned from one of America’s authorities on 
the subject, you know that you have learned the 
best way. If you only half learn your steps, 
you can not expect to have your own confidence, 
and if you lack confidence in yourself, so will 
your partner. Therefore, learn your steps well, 
and when you have, you will be surprised at the 
way it has increased your poise and sense of bal¬ 
ance, whether you are standing, walking, or 
dancing. 


DANCE BY YOURSELF FIRST. 

When you first start to learn how to dance, 
walk out the steps by yourself. Then dance 
them alone, until you can do the steps well 
enough to dance with anyone. Both the gentle¬ 
man and the lady should know the steps and 
not depend upon the knowledge of each other. 


GUIDE TO DANCING. 


27 


THE LATEST HOLD FOR THE MODERN DANCES. 

The newest hold, and the one that was ap¬ 
proved of at the annual convention of the 
American National Association of Masters of 
Dancing this summer, is the one described. 

The lady rests her left hand lightly on the 
gentleman’s shoulder. Her right arm is ex¬ 
tended and is bent to form a graceful curve. 
She looks over her partner’s right shoulder. 

The man holds his right arm just above the 
lady’s waist, with the elbow bent at a sharp 
angle. He holds her firmly as this helps her to 
follow his steps, and also inspires her confidence 
in him. Fancy holds are in poor taste and ex¬ 
tremely out of date. 

CARRY YOURSELF WELL. 

A moderately good dancer who carries him¬ 
self well appears to far better advantage than 
a very good dancer who stands in an awkward 
or ungraceful position. 

Stand erect, with your body on a line from 
head to hips, not stiffly but well poised. Keep 
your legs close together and never spread them 
apart. Keep your feet on the floor and so elim¬ 
inate any tendency to hop. The movement 
should come from below the hips. The weight 
should be on the inside ball of the foot, and the 
knees bent slightly more than in ordinary walk- 





28 


GUIDE TO DANCING. 


ing. The lady does not lean on her partner nor 
bear down upon him. 

Take your steps in a gliding manner and thus 
make your dancing smooth, rhythmic, and light. 






/ GUIDE TO DANCING. 29 


THE FIVE POSITIONS. 



1st.—Stand with weight of body equally on 
both feet with heels together, the toes well 
turned out. See cut. 

2d.—Glide right foot directly to right, bend¬ 
ing left knee. 

3d.—Place right heel in hollow of left foot. 

4th.—Glide right foot forward from 1st to 3d 
position. 

5th.—Place right heel at side of toe of left 
foot. 

Body aplomb. Weight of body on left foot 
in all except the first position. 

Note. —Positions also to be taken as above 
with left foot. 

Remarks. —In all movements where the foot 
is raised, keep the toe well pointed toward 
floor. 










30 


GUIDE TO DANCING. 


THE MODERN DANCES. 


The charm of the modern dances lies in the 
total absence of routine. Anything which robs 
the dancer of an opportunity for originality and 
invention is not popular today. We call for 
freedom in dancing as in everything else. 

Of course, there are those basic steps that 
everyone should know and know exactly how 
they are done. But, after you have these, you 
have a foundation, and you are free to invent 
and create your own steps. The dances which 
I teach you are but a skeleton outline, for you 
to fill in at your pleasure. 


THE TWO STEP. 


The two-step is extremely simple, and it is 
necessary to know it in order to understand the 
other modern dances. Many people two-step 
to waltz time, although this is incorrect. The 
two-step is used as a part of nearly all the mod¬ 
ern dances, and is much in evidence in the One 
Step and Fox Trot. It is one of the funda¬ 
mental steps and so I am going to teach it to 
you first. 

The time is 6-8 but it may be done to 4-4. 
Count the steps “Left and Left”, “Right and 


Right. ’’ 


• Left, slide left with the left foot; and bring 
up right foot to Third Position. Left, slide 
left foot forward to Fourth Position. 








GUIDE TO DANCING. 


31 


Repeat starting right, thus: 

Right, slide to right with right foot; and 
bring up left foot to Third Position. Right, 
slide right foot forward to Fourth Position. 

When dancing the two-step, never hop, but 
slide the feet, keeping the weight on the balls 
of the feet. This makes the sliding easier and 
destroys the tendency to hop. 

THE WALTZ. 

Waltzing is a species of dancing that owes its 
origin to the Germans, having first introduced 
in Swabia, one of the nine Circles of Germany, 
and from its introduction into the neighboring 
provinces, and thence throughout the European 
continent, its original manner of performance 
has been greatly improved and it has now be¬ 
come the most popular and agreeable form of 
dancing. 

In this description I shall endeavor to explain 
what I consider the simplest and at the same 
time the correct steps and movements necessary 
to acquire an insight into how the feet should 
be used in waltzing. I must, however, emphat¬ 
ically repeat that an insight, and that a very 
small one only, can be obtained from a written 
description of our favorite dance. A lesson 
from a good master will do much more good, as 
well as save time and patience. 

The steps set forth are for the gentlemen; the 


82 


GUIDE TO DANCING. 


ladies’ are the same, but should commence with 
the fourth step and right foot, six steps com¬ 
pleting the circle. 

Position.—Third, right foot in front. 

FIRST STEP. 

Slide the left foot forward into Second Posi¬ 
tion allowing the weight to go on to the left foot. 
(Count 1) 


SECOND STEP. 

Draw the right toe very lightly up to and 
slightly past the left heel. (Count 2) 

THIRD STEP. 

Describe a half circle to the right on the ball 
of the left foot, not letting the toes of the right 
foot leave the floor. The feet are again in Fifth 
Position, reversed. (Count 3) 

FOURTH STEP. 

Slide right foot forward into Fourth Position 
allowing the weight to go on to the right foot. 
(Count 4) 

FIFTH STEP. 

Describe one half circle to the right on the 
ball of the right foot with the left leg extended 
in the Second Position, the left foot lightly 
touching the floor. (Count 5) 



GUIDE TO DANCING. 


33 


SIXTH STEP. 

Throw weight on to the left foot bringin 
right lightly past it into the Third Position, th 
right heel being then looked with the left ankle, 
and the weight is on the right, so that the lift 
is free to begin again. (Count 6) 

THE REVERSE. 

FIRST STEP. 

Slide left foot forward to the Fourth Position. 

SECOND STEP. 

Half circle on the ball of the left foot, right 
in Second Position. 

THIRD STEP. 

Slide the left foot a little, forward to the 
Third Position. 


FOURTH STEP. 

Slide the right foot to the Second Position, 

FIFTH STEP. 

•) 

Draw the left toe very lightly up to and 
slightly past the right heel. 

SIXTH STEP. 

Turn on the sole of the right foot, while press¬ 
ing slightly on the left, in to the Third Position, 
with the left foot in front. 

THE FORWARD STEP. 

1. Slide left forward. 


a > oq 


34 GtflDE TO DANCING. 

2. Slide right forward. 

3. Close left up to right. 

4. Slide right forward. 

5. Slide left forward. 

6. Close right up to left. 

0 

THE BACKWARD STEP. 

1. Slide left backwards. 

2. Slide right backwards. 

3. Close left to right. 

4. Slide right backwards. 

5. Slide left backwards. 

6. Close right to left. 

Remember not to turn the toes inwards, when 
doing the backward step. 

THE HESITATION WALTZ. 

The Hesitation Waltz is an attractive varia¬ 
tion from the ordinary Waltz and has endured 
a long popularity on the dance floor. 

Gentlemen’s steps. 

The gentleman stepping back with the right 
foot takes two steps on two counts, alternating 
the right and left foot. (Count 1 and 2) 

He then moves forward two steps, right and 
left (Counts 3 and 4). These steps should not 
be straight forward, and backward, but zig zag 
steps, consisting of half turns and advancing a 
little. 

Gentleman rests weight on left foot (Counts 



GUIDE TO DANCING. 


35 


5 and 6), the right foot being raised slightly 
from the ground in the rear. Hence the name 
Hesitation. 


ladies’ steps. 

The lady starts forward left, right (Count* 1 
and 2). 

Back left, right (Counts 3 and 4). 

Hold weight, or hesitate on right foot (Counts 
5 and 6). Always remember, when doing the 
Hesitation Waltz, to count 1, 2, 3, 4, and hesi¬ 
tate on the 5, 6, and you can not fail. 

It is much prettier to vary this dance by sev¬ 
eral ordinary waltz steps, and when you have 
brought in the Hesitation from the ordinary 
Waltz, with a small amount of practice, you can 
cease counting and do it naturally. 

THE SIDE HESITATION. 

There are six counts to the measure as in the 
ordinary Hesitation. 

The gentleman starts forward with his right 
foot alternating right, left, right, left, with a 
dip on the fourth count; he holds his weight on 
the left foot for the fifth and sixth counts. 

The lady starts back with the left foot alter¬ 
nating left, right, left, right. On the fifth count 
she sinks back on the right foot holding this 
position for two counts. This step can also be 
done with the lady going forward and the gen¬ 
tleman back; the steps however, are the same, 


36 


GUIDE TO DANCING. 


with the exception that the lady starts forward 
with the left foot and the gentleman back with 
the right. 


THE LAME DUCK. 

The man starts forward with the right foot, 
the movement being a sliding dip which should 
be made with as little jerk as possible. The first 
step occupies two counts and on the third count 
the gentleman catches his weight on the left 
foot. 

To turn, he starts in the direction in which he 
wishes to go, shifts his weight in the usual 
manner, and gages the distance and length of 
steps so that he makes the turn without losing 
the time. The lady goes back with the left foot, 
two counts, slides as does the man and catches 
her weight on the right foot for the third count. 

THE ARGENTINE TANGO. 

The Tango marks an epoch in the history of 
ball room dancing. It marks a transition pe¬ 
riod, from the old fashioned round and square 
dances to the modern dances. Many of the steps 
of the Tango form the fundamentals of later 
dances, as is seen in the Tango Fox Trot that 
is being danced so much this season. There are 
many steps, but we have selected the four most 
popular and characteristic. 


GUIDE TO DANCING. 


37 


THE CORTEZ. 

The lady starts forward on the left foot, 
catching her weight on the right to the side, and 
almost opposite the left foot, a trifle toward 
the back; she now goes back to the left foot; 
then steps forward on the right foot holding the 
fourth beat, and posing the left foot back until 
the first beat of the next measure. 

There is no movement on the fourth beat. 
The man starts back on the right foot, catches 
his weight to the side on the left almost oppo¬ 
site the right foot and a trifle forward, and im¬ 
mediately throws his weight back to the right 
foot. He steps back again on his left; the 
fourth count he holds, posing the right foot for¬ 
ward and holding the position until the first 
beat of the next measure. 

To do this step correctly walk a few steps 
and then do several steps of the Cortez and con¬ 
tinue in this way until the step is perfected. 
When you have mastered this step you have 
practically mastered the Tango, for it is the 
basis of the Tango and after doing another step 
one goes back to the Cortez; that is it is used 
to change from one step to another. 

THE TANGO WALK. 

The man walks forward, starting with his left 
foot, the woman backward, with her right foot, 
to the counts 1, 2, and 3. On the “and” the 







38 


GUIDE TO DANCING. 


gentleman steps forward on his left heel and on 
3, the right foot advances to the back of the left 
heel, taking the weight. Thus, there are really 
four steps to three counts. This step may be re¬ 
peated any number of times. 

1— left. 

2— right. 

and—left. 

3— right. 


THE SCISSORS. 

The dancers promenade once, do a half turn 
inward—that is the gentleman crosses the left 
foot in front of the right. Then do the Tango 
Walk step, the gentleman with right turning in¬ 
ward, crossing right in front of left. 

This step may be done indefinitely and fin¬ 
ished with the Cortez or Tango Walk. 

MEDIA LUNA. 

It will be simple to try this step if the dancer 
remembers that it is practically the double 
Cortez. 

The gentleman stepping forward on his right 
foot holds it (Counts 1 and 2). 

The left slides forward (Count 3), and the 
right takes the weight (Count 4). 

The man then steps back with the left foot, 
holding it (Counts 5 and 6). 

He slides the right backward (Counts 7), and 
the left takes the weight (Count 8). 


GUIDE TO DANCING. 


39 


It will be seen that this step requires eight 
^counts in all. Practice it until you can do it 
easily and smoothly for only then is it effective. 

The ladies’ step is just the opposite. 

Step back left and hold (Counts 1 and 2). 

Slide right foot back (Count 3). 

Left takes weight (Count 4). 

Repeat the step forward starting with the 
right foot, making eight counts. 

THE FOX TROT. 

The Fox Trot with its many variations is the 
most popular of all dances today. Wits its syn¬ 
copated rhythm, it is alluring and interesting, 
and together with its absolute simplicity, we see 
that these are good reasons for its great and 
long time popularity. It had almost supplanted 
the one step and its steps are used for fox trot 
time and waltz music. 

THE FOX TROT WALK. 

The man walks forward and the lady back¬ 
ward. The steps are very long and slow, and 
are gliding steps. They require two quick beats 
of the music. 


THE FOX TROT. 

As I have said, there are always fancy steps 
coming out, and there are many variations of 
the simpler ones, but the ones which every one 
knows and does is as follows 


40 


GUIDE TO DANCING. 


Gentleman’s Part. 

Starting left, walk forward four steps of the 
long gliding Fox Trot Walk (4 counts). 

Two-step left (2 counts). 

Two-step right (2 counts). 

Lady’s Part. 

Starting right walk backward four steps of 
the Fox Trot Walk (4 counts). 

Two-step right (2 counts). 

Two-step left (2 counts). 

The two-step is used to turn the corners. 

THE JAZZ ROLL. 

This variation of the Fox Trot differs only 
from the ordinary Fox Trot in that the line fol¬ 
lowed by the couple represents a series of semi¬ 
circles, alternating to the right and left, like a 
corkscrew. 

The steps are identical with those of the Fox 
Trot, but the shoulders swing around with an 
easy action, and the body slightly inclined 
towards the centre of the semi-circle thus de¬ 
scribed. 

The turning movement starts on the fourth 
beat of the measure and finished on the first 
beat of the next measure, and while the first 
step is being taken. In this way, by the time 
the second step occurs, the body will have fin¬ 
ished the corkscrew effect. If you have ever 
skated you will understand that the movement 


GUIDE TO DANCING. 


41 


in the Jazz Roll is similar to taking short out¬ 
side edges while facing each other. This step 
is sometimes called the Skating Step. 

THE TANGO FOX TROT. 

This is the latest thing in the Fox Trot and is 
a pleasing combination of Tango and Fox Trot 
steps. Gentleman’s part given, lady counter¬ 
part. 


FIRST STEP. 

Start with left foot and take four Fencing 
steps forward (8 counts). 

The Fencing Step is a walking step, with the 
balance shifting from the forward foot to the 
back foot and to the forward foot again. 

SECOND STEP. 

Step forward on left foot (count 1). 

Two-step to right (count 2 and). 

Walk forward on right, left, right (count 3, 
4, 5). 

Turn back on left, draw right to left (count 
6 and). 

Walk back left, right, left (count 7, 8, 1). 

Turn on right, draw left to right (count 2 
and). 

Forward right, left, right, left (count 3, 4, 5, 

6 ). 

Balance back on right taking Cortez step 


42 


GUIDE TO DANCING. 


(count 7, 8). The Cortez step is described on 
page-under the Argentine Tango. 

THIRD STEP. TANGO TURN. 

Step forward on left foot (turning slightly 
to left) (Count 1). 

Forward right (count 2 and). 

Back right, back left, draw right (count 3, 4, 
and). 

Repeat, counting 5, 6, and, 7, 8, and, making 
complete turn, during which you face the four 
different corners of the room. 

FOURTH STEP. 

1 Waltz step to right. 

1 Waltz step to left. 

Step forward right and take Cortez step. 

This makes 8 counts. 

Repeat. 

FIFTH STEP. 

Three running steps diagonally forward 
starting with left foot (count 1, 2). 

Brush with right foot (count and). 

Three running steps diagonally forward 
starting with right foot (count 3, 4). 

Brush with left foot (count and). 

Forward on left foot and take Cortez step 
(count 5, 6, 7, 8). 



GUIDE TO DANCING. 


43 


THE SOCIETY WALK. 

The Society Walk is a modification of the 
Castle Walk, done in the following steps: 

Six long walking steps. 

A stop step, transferring the weight forward 
and backward. 

Pour steps and a double stop step as before. 

Four walking steps and a pivot turn to the 
left. 

Four more walking steps and a right pivot 
turn. 

This attractive dance is done to any fox trot 
music except jazz time. The prescribed time 
is 48 measures to the minute. 

THE WALK AROUND. 

This, also, is a modification of the once famous 
Castle Walk. You may accomplish it by doing 
a gliding step, stop step, both single and double, 
and some pivot turns. 

THE WESLEYAN. 

The Wesleyan resembles the waltz, and is a 
little slower and more graceful than the old time 
minuet. It was adopted as a supplemental 
dance to the one-step, fox trot and waltz, which 
have for some time been the popular dances. 
Gentleman’s part given here, partner counter¬ 
part. 

Left foot forward (count 1). 


44 


GUIDE TO DANCING. 


Eight foot forward (count 2). 

Left foot forward (count 3). 

Right foot forward, half turn (count 1). 

Left foot to side (count 2). 

Draw right to left (count 3). 

Half turn to right (count 1). 

Walk back right (count 2). 

Walk back left (count 3). 

Right back turning left (count 1). 

Left to side (count 2). 

Draw right to left (count 3). 

Left to side (count 1, 2). 

Draw right to left (count 3). 

Left side (count 1, 2, 3). 

Right foot forward making one waltz turn to 
right (count 1, 2, 3, 4, 5, 6). 

Eight measures. 

Repeat from beginning but starting with 
right foot with reverse turns. 

THE TWO-TWO. 

Gentleman starts with left foot, making a 
long step to the count of 1, 2, with a slight 
teeter on the toes at the end of the step. Then 
a quick step to the count of 3, shift the balance 
to the right foot, teeter a moment, and while 
teetering draw the left foot to it and begin 
again. This is a step and slide dance and not a 
canter. 


GUIDE TO DANCING. 


45 


THE ONE STEP. 

This is one of the ragtime or jazz dances of 
today, and it owes its popularity chiefly to its 
simplicity. The One Step is done to quick 2-4 
time. It is really a fairly fast walk forwards 
and backwards. 

The dancers face each other, the lady’s right 
hand in the gentleman’s left. The elbows are 
slightly bent and not held out stiffly. The right 
hand of the gentleman is a little above the 
lady’s waistline. The lady’s left hand rests 
lightly on the gentleman’s right shoulder. 

THE STEP. 

The step is simply a walking step of direct ad¬ 
vance and retreat. The man starts forward and 
the lady backward. It may be varied by two- 
stepping for several measures, alternating to the 
right and to the left. The walk has the appear¬ 
ance of strutting, although the shoulders 
should be held level and the body firm. 

THE TURN. 

The turn is a walking step pivoting on one 
foot to change direction. The corners may also 
be turned in this way or by two-stepping. 

THE TWIRL. 

An attractive variation to the plain One 
Step is found in the Twirl. Bear in mind when 
twirling that you must twirl or spin only on one 


46 


GUIDE TO DANCING. 


foot, the right foot, whether you be lady or 
gentleman. The two dancers spin progressively 
from left to right keeping their right feet rigid 
and close together. The left foot is used to pro¬ 
pel the body around. The gentleman holds the 
lady closely and brings her around with a 
steady pull. 


GLOSSARY OF FRENCH TERMS USED IN 

DANCING. 

Assemble — Abringing of the feet from an open 
to a closer* position. 

Allemande —A movement of turning partner's 
hand over head. Already explained. 

Balance-en-avant —Balance forward. 

Balance-en-arriere —Balance backward. 

Balance —This term is sometimes used for set¬ 
ting to partners. 

Battement —The raising and falling of a leg in an 
open or closed position. 

Bourree, Pas de —A movement of three steeps. 

Chaine Anglaise —Right and left. 

Demi-Chaine Anglaise —Half right and left. 

Chaine des Dames —Ladies' chain. 

Coupe —A step in which tne feet seemingly cut 
from an open position, through a closed, to 
an open. 

En avant et en arriere —Advance and retire. 

Fouette —A whipping movement. 

Glissade —A sliding step. 

Grande Chaine — 


47 



48 GUIDE TO DANCING. 

Grande Ronde —Grand circle. 

Jette —A thrown step. 

Leve —Raising on the toe of the balancing foot. 
Marche, Pas de —A stately marching step. 
Moulinet —Hands across. 

Pas —A step or combination of steps. 

Pas Grave —A bending of both knees, raising 
high on the toes, descending on one foot, 
and pointing a foot in front. 

Pas Glisse —A gliding step. 

Pas Saute —A hop. 

Pirouette —A turn of the body. 

Sissonne —A crossing of the feet. 

Terre a Terre —The feet on the floor. 

Traverse —Cross over. 

Tiroire - Lead through the centre. 

Tour des Mains —Passing once round with hands 
joined. 

Demi-Tour des Mains —Passing half round with 
hands joined. 


GUIDE TO DANCING. 


49 


QUADRILLE OR SQUARE DANCES. 

Square dances, otherwise known as “sets,” 
are composed of four couples arranged so as 
to form a four-yard square, each couple facing 
inwards, with the lady on the right, towards the 
center. The first couple are those with their 
backs to the band or top of the room, the couple 
opposite these being second; the couple on the 
right of the first couple are the third, and those 
on the left of the first are the fourth. The first 
and second couples, sometimes called “tops and 
bottoms,” stand face to face, or vis-a-vis, as do 
the third and fourth, sometimes called “sides.” 

The steps generally used are pas marche or 
walking steps, and these are done to music 
which corresponds with the movements. Care 
must be taken that these movements are ac¬ 
complished to correct time, or inconvenience to 
the other couples is the result. 


V 


EXPLANATION OF THE TERMS USED 
IN SQUARE DANCES. 

TOGETHER WITH A DESCRIPTION OF THE VARI¬ 
OUS MOVEMENTS THEY INDICATE. 


In describing these movements, I have pur¬ 
posely used only the language of our own coun¬ 
try, and no foreign technical expressions shall 
be used until the movements they indicate have 
been explained (see Glossary of French Terms). 

Before the commencement of each figure in 
a square dance, eight bars of music are played 
as j prelude, except in certain cases which shall 
be mentioned. 

At the first eight bars of a square dance, you 
bow to your partner and then to the corner lady 
or gentleman, as the case may be. 

In each figure the following sign will denote 
eight bars of music (—), and sixteen bars will 
be denoted thus (=). 

ADVANCE AND RETIRE. 

Starting from a third position, make three 
walking steps forward, and on the fourth beat 
draw the back foot into the third position be¬ 
hind. Retire: stepping back with the foot 



50 


GUIDE TO DANCING. 


51 


which is behind, make three walking steps 
backwards, finishing in the third position. 

BALANCE 

This term is frequently used in square dances, 
and is generally performed sideways by eliding 
the foot to the second position and closing the 
other foot to the third or fifth position, rising 
and falling in bringing the foot to the closed 
position. It may be done forward and backwad 
by sliding the foot to the fourth position and 
rising and falling in bringing the other foot into 
a closed position. 

CHASSE CROISE. 

Partners cross each other sideways, with 
three walking steps, and on the fourth beat 
should bring their feet back into third position, 
the gentlemen passing behind the ladies. 

CROSS OVER. 

Starting from a third position, take seven 
walking steps to the opposite side, the lady 
passing between the opposite couple, the gentle¬ 
man crossing on the outside of the opposite lady. 
On reaching the opposite place, and on the 
eighth count, turn so as to face the center of the 
figure and the opposite couple. Care must be 
taken that the partners face each other whilst 


52 


GUIDE TO DANCING. 


turning; the lady turning to the left, the gentle¬ 
man turning to the right. 

GRAND CHAIN. 

Face partners and give right hands, pass half 
round partners, now release right hands, and 
give left hands to the next person, release left 
hands, and, give right hands; repeat this until 
half round the circle; make a slight salutation 
to partners, and repeat the chain to places. 

GRAND CIRCLE. 

All the couples join hands and form a circle, 
thus advance and retire as described. 

GRAND CROSS. 

The four gentlemen present their right hands 
to their partners and join their left hands across 
the center, all facing the same direction, they 
should then promenade round. 

HAND CHAIN. 

Present right hand to corners and pass once 
round each other, with eight walking steps. 
The lady then passes on to the next gentleman, 
gives her left hand, and then passes round him, 
and so on, right and left alternately, concluding 
with her partner. The gentlemen throughout 
this chain should keep their places. 



GUIDE TO DANCING. 


63 


HANDS ACROSS. 

The ladies give their right hands to each other 
across the center, the gentlemen doing the same. 
They then walk half round to the left to the oppo¬ 
site side, and, when arrived, they release their 
right hands, now giving their left hands across, 
and moving half round to the right to regain 
their places. 

LADIES* CHAIN. 

The two opposite ladies cross into each other’s 
places, presenting right hands in center, then 
each lady should release her right hand and 
place her left hand in the left hand of the oppo¬ 
site gentleman; she should then pass once round 
him and return to original place by the same 
movement. When the ladies cross only to 
opposite places, it is termed Half Ladies’ 
Chain. 

LEAD ROUND. 

To lead round, take partner by the hand. 

LEAD THROUGH THE CENTER. 

First couple join hands and walk straight 
across to opposite places, passing between the 
opposite couple, and immediately returning on 
the outside of the second couple, who must now 
join hands and return to their original places. 

PROMENADE. 

This really is a walking movement, and used 
to be done in this way, but the more general 


54 


GUIDE TO DANCING. 


way of performing promenade movements now 
is to galop them. This is done by sliding the 
left or right foot forward, and bringing the 
other foot close up behind with a slight spring, 
and immediately afterwards sliding the front 
foot forward again. 

RIGHT AND LEFT. 

Starting from a third position, and with the 
left foot, the gentleman takes three walking 
steps forward, passing the opposite lady on her 
right. On the fourth beat, he should draw the 
back foot into the third position; this allows 
his lady (who is making a forward movement 
at the same time) to pass in front. Immedi¬ 
ately the lady has passed, continue three walk¬ 
ing steps, making a very slight detour to the 
right, and on the eighth beat turn to the left to 
face the center of the set. The lady should 
commence with the right foot and from the third 
position. She now takes seven walking steps 
forward, passing through the center of the oppo¬ 
site couple. On the eighth beat she should 
turn to the right to face the center of the set; 
in making these steps the lady should not go 
directly across. The first three steps are taken 
forward, but the last four steps must be taken 
so that she inclines to the left. Return to places 
by the same movement. When this is done 


GUIDE TO DANCING. 


55 


to opposite places only, it is termed Half Right 
and Left. 

SET AND TURN CORNERS. 

The gentleman turns to the lady on his left, 
whilst the lady turns to the gentleman on her 
right; they then set and turn as described below. 

SETTING TO PARTNERS AND TURNING BY THE 

WAIST. 

Face your partner. Make three walking steps 
to the right, commencing with the right foot, 
and on the fourth beat draw the back foot into 
the third position. Turn slightly to the left, 
and commencing with the left foot, repeat to 
the left. In finishing, turn to face each other 
on the fourth beat. Holding your partner as 
heretofore described and resting the weight 
on the right leg, use the left toe as a means of 
propulsion for turning. This is done by glid¬ 
ing into an extended third position, springing 
very lightly upon it, and drawing the right 
foot by a slight contraction of the muscles 
towards you whilst turning. When doing this, 
count one for the movement on the left, and one 
for the drawing action of the right. 

TURNING HAND OVER HEAD. 

The gentleman takes his partner by the right 
hand, gently lifts her hand, and passing his 
arm over the lady's head, with a sweeping curve, 


56 


GUIDE TO DANCING. 


turns her completely around to the left. Care 
should be taken that the hands are held very 
lightly. 

MEASURE OF MUSIC PER MINUTE. 

But a small percentage of our orchestras can 
perform the exact time without the use of a 
metronome. 

For quadrilles, 2-4 or 6-8 time, 60. 

For polka, 60. 

For polka redowa, 3-4 time, 45. 

For schottische, 4-4 time, 45. 

For waltz-galop, 2-4 time, 45. 

For glide waltz, 3-4 time, 62. 

For mazurka, 3-4 time, 58. 

Note.—People seldom improve where they have no model but) 
themselves to copy.— Goldsmith. 

TWO-STEP QUADRILLE. 

(Adopted by the American Society of Professors 
of Dancing, September, 1894.) 

No. 1. 

Head couples two-step across and back... 8 bars 

All forward and back . • » • KZUi 1.1 > * 4 bars 

All forward again... . ...2 bars 

Gentleman take left hand lady back to 

place. 2 bars. 

All two-step with new partner . r .... 8 bars. 
Repeat three times. 

Note.—In this figure, the head couples should two-step across 
and back the first and second time, besides the third and fourth 
time. 






GUIDE TO DANCING. 


57 


No. 2. 

Head couples two-step across and back.. 8 bars. 
Side couples two step across and back... 8 bars. 


All forward to center (2 bars), ladies 
turn and join hands in center (form¬ 
ing circle) facing partners, gentle¬ 
men retire to place (2 bars). .4 bars. 

Four ladies two-step to the right (1 bar) 
turn the gentleman fronting them 
with the left hand (3 bars).4 bars. 


All dance around with new partners .^.,. 8 bars. 
Repeat three times. 

No. 3. 

All change places a quarter around, la¬ 
dies to the right and gentlemen to the 


left.4 bars. 

Turn that partner with both hands.4 bars. 

All two-step around the set with new 

partners.8 bars. 

All forward and back.....4 bars. 


Four ladies return to their own places... 4 bars. 
All dance two-step with new partners,.. 8 bars. 
Repeat three times. 









58 


GUIDE TO DANCING. 


\ 


PLAIN QUADRILLES. 

This diagram is for the room and sets. 

SINGLE FORMATION. 

Stage of Music . 



1st Couple. 


G L 

• 

w 

• 

H 


s 

PH 

s 

D ^ 

o & 

O a 

u ° 

-3 


XI 

CO 

9 


L G 


2d Couple. 


DOUBLE FORMATION. 

Stage of Music . 



G for gent, L for lady . 




GUIDE TO DANCING. 


69 


THE QUADRILLE. 

(—) signifies eight bars. 

FIRST FIGURE. 

First and second couples right and left (—). 
Set to partners and turn (—). Ladies’ Chain 
(—). Set to partners and turn (—). Side 
couples repeat. 

SECOND FIGURE. 

First and second couples advance and retire, 
cross over to opposite places (—). Again ad¬ 
vance and retire, and recross to places (—). 
Set to partners and turn (—). This is repeated 
by the leading couples, and then twice by the 
side couples. 

THIRD FIGURE. 

First lady and opposite gentleman cross over 
to opposite side and bow, touching right hands 
in passing. Return to center, giving left hands 
to each other, and right hands to partners (—). 
Balance, four in a line; lead round to opposite 
side (—). First lady and opposite gentleman 
again recross and bow. Return of partners(—). 
First and second couples advance and retire and 
promenade to places (—). This is done four 
times in all, each lady and opposite gentleman 
commencing in turn. 

FOURTH FIGURE. 

First couple advance and retire; advance 
again, the first gentleman leaving his partner 

■ / 


60 


GUIDE TO DANCING. 


on the right, and with the opposite gentleman 
(—). Second gentleman presents his right hand 
to his partner and his left hand to the opposite 
lady; he now advances, retires, and re-advances, 
the first gentleman returning at the same time 
to place (—). The first gentleman now gives 
his hands to the ladies, and with them advances, 
retires, and re-advances. The first and second 
couples now join hands to form a circle, mov¬ 
ing round to the left, with a galop step, to the 
opposite sides, disengage hands as they reach 
the opposite position, and with partners galop to 
places (—). This is done four times in all, each 
couple leading in turn. 

FIFTH FIGURE. 

All join hands to form a circle, advance and 
retire, and then turn partners (—). The four 
ladies advance, courtesy, and retire. The four 
gentlemen advance to the center, turn to the 
corner ladies and bow (—). All set to corners 
and turn (—). The gentleman now prome¬ 
nades round the circle, to the right, with the cor¬ 
ner ladies, until he reaches his place (—). This 
is done four tunes in all, which brings all back 
to their own partners and places. The figure 
finishes with the circle, advance and retire, and 
turn partners. 


GUIDE TO DANCING. 


61 


VARIETIES QUADRILLE. 

FIRST FIGURE. 

Measures 
of Music. 

Address partners and center ...... 8 

Grand right and left half way around... 8 

First four dance the two step across and 

back...... . r ... .... 8 

Four ladies forward and back 4 

Four gents forward and back..4 

Note. —All are on opposite sides. All dance 
two-step to original place to first eight bars of 
the music. Repeat by sides, ending with first 


strain.. 

SECOND FIGURE. 

Address partners and corners... 8 

First lady and opposite gentleman for¬ 
ward and back.. . T . 4 


Forward again, turn with right hands, 
(moving backward between the side 
couple). First lady between third 
couple., second gentleman between 


fourth couple ........ EH ....... 4 

Forward and back six.. 4 


First lady and second gentleman for- 
r ward, turn with left hand to places. 4 
First four two step across and back... 8 

Play four times ending with, first strain. 










62 


GUIDE TO DANCING. 


/ 


THIRD FIGURE. 

Measures 
of Music. 

First gentleman and opposite lady for¬ 
ward and turn with right hand, turn 
partner with left, gent remains in 


center.... 


0-m.* JfcZM 


8 


Four ladies join hands around the gen¬ 
tleman, circle half way, and back to 

places.. . . fix.' EE* «”•’ BXK MB6 OK BS* M* HK 8 

All redowa or york around to place. 8 

Play four times, ending with first strain. 


FOURTH FIGURE. 

During the last two bars of the introduction 
the side ladies join the heads. 

Forward and back six; ladies pass to 

side gentlemen ,x«' .-. ... . ....8 

Forward and back six; ladies pass to 

head gentlemen........... . .. 8 


Forward and back six; ladies pass to 

side.. 8 

Forward and back six; ladies pass to 
places. mb... 8 

THE LANCIERS. 


(—) signifies eight bars. 

(=) signifies sixteen bars. 

FIRST FIGURE. 

The first lady and second gentleman cross 
over, passing each other with right hands inside, 











GUIDE TO DANCING. 


63 


then bow to each other, and turn in centei and 
return to places (—). The first and second 
couples now lead through the center, and turn 
(—). This is done four times in all, each lady 
and opposite gentleman commencing tin turn. 

SECOND FIGURE. 

First couple advance and retire with right 
hands joined. Advance again, the gentleman 
leading his lady in to the center of the figure, 
facing him (—); set and turn partner to place 
(—). Side couples then separate and join hands 
with first and second couples, forming two lines. 
All advance and retire, and then turn partners 
to places (—). Each couple lead in turn. When 
the third or fourth lead the lines are formed by 
the first and second couples dividing. 

THIRD FIGURE. 

All four ladies advance to center, courtesy, 
and retire; the gentlemen.,then advance and 
join hands in a circle, after which the ladies 
advance and place their hands lightly on the 
gentlemen’s arms (—). All promenade round 
to the left, breaking off as they reach their own 
places (—). In the second movement the four 
gentlemen advance and retire; re-advance to 
center, and then bow to the ladies, who should 
courtesy (—). Grand Cross (—). Repeat the 
whole to complete the figure. 


64 


GUIDE TO DANCING. 


FOURTH FIGURE. 

First and second couples lead round, visiting 
the couples on the right and bowing, afterwards 
crossing over to visit the opposite couple and 
bowing as before (—), each two couples then 
hands across (—), and finish by galoping half 
round to the left, with both hands joined across, 
half round to the right, and breaking off to 
places (—). The first and second couples should 
now visit those on the left first. The side cou¬ 
ples then repeat as above to complete the figure. 

FIFTH FIGURE. 

Grand Chain(=). First couple lead round, 
finishing by facing outward, with backs to second 
couple and lady on the right of the gentleman. 
The third and fourth couples now fall in behind 
so as to form two lines (—). All chassez croisez 
and balance (—). The leading lady now march¬ 
es to the right, while the leading gentleman 
marches to the left, the others following. Meet¬ 
ing half way dowm, they should join hands and 
lead up the center. All then form tw r o lines, 
the ladies on one side, and the gentlemen on 
the other, facing partners (—). All then ad¬ 
vance and retire, and turn partners to places (—). 
This is done four times in all, each couple leading 
in turn. Finish with Grand Chain, 


GUIDE TO DANCING. 


65 


THE CALEDONIANS. 

(—) signifies eight bars . 

FIRST FIGURE. 

First and second couples join hands across 
(—), set to partners and turn (—), ladies' chain 
(—), then promenade once round (—), side 
couples repeat. 

SECOND FIGURE. 

The first gentleman advances and retires 
twice (—). All then set to corners and turn 
(—). The four gentlemen now promenade once 
round to the right, with the corner lady, who 
stops in his place (—). This is done four times 
in all, which brings all back to their original 
places and partners. 

THIRD FIGURE. 

The first lady and second gentleman cross 
over, passing each other with right hands inside, 
bow to each other, and turn in center (—). The 
first and second couples then lead through the 
center and back to places (—). All should then 
set to corners and turn (—). Form Grand Cir¬ 
cle, then advance and retire and turn partners 
(—). This is done four times in all, each lady 
and opposite gentleman leading in turn. 

FOURTH FIGURE. 

The first lady and second gentleman advance 
to the center and remain; their respective part- 

/ 


66 


GUIDE TO DANCING. 


ners doing likewise, the gentlemen then turning 
the ladies to places (—). The four ladies now 
move round to the right, each into the next lady’s 
place, and remain while the foil gentlemen move 
round to the left, each into the n ixt gentleman's 
place and remain. The ladies now move again 
to the right, and the gentlemen to the left, join¬ 
ing their partners (—). All four couples then 
promenade round to places and turn partners 
(-). This is done four times in all, each lady 
advancing to meet the opposite gentleman in 
turn. 


FIFTH FIGURE. 

Fist ;ouple pr menade once round the set 
(—). The ladies ;hen advance to the center, 
curtsy, and retire. The four gentlemen now 
advance to the center and turn to face their 
partners, at the same time bowing (—); all then 
set to partners and turn (—). Half grand chain 
(—). Promenade to places (—). Chassez crois- 
sez, each gentleman turning corner lady, who is 
on his right. All then return to places and turn 
(—). This is done four times in all, each 
couple leading in turn. 


> 

I 

\ 


h 

•-} 

t* 


GUIDE TO DANCING. 67 

WILLIAM’S PRESIDENTIAL POLKA 

QUADRILLE. 

FIRST FIGURE. 

Measures 
of Music. 

Ladies on the head give right hands and 

turn. 4 

Left hand to partners and turn. 4 

Leads polka. 8 

Turn corners.. m 8 

All polka.. ,z, ,z..r, 8 

Sides the same. 

SECOND FIGURE. 

First couple polka. • • • *3Z£ • • < ; • >TC 8 

Ladies chain... .. .........8 

All polka... v...... wc.v? 8 

Repeat third, second and fourth. 

THIRD FIGURE. 

Leads promenade around each other and 
pass to couple on right of their place 8 

Cross right hands, change partners and 
pass to gentleman’s place.. r ... 8 

Leads polka. .....«£. jii si* 8 

All polka.. s_. ti< ms szs sau 8 

Sides same and repeat. 

















68 


GUIDE TO DANCING. 


FOURTH FIGURE. 

First and third couples right and left.... 8 

First polka. ...... 8 

Leads polka... *r* ... • * *■ * 8 

All polka...-.. r 8 

Third and second, second and fourth, fourth 
and first. 

FIFTH FIGURE. 

All forward and back . • • • rats •« • Kt 4 

Ladies one place to the right.. 4 

Ladies’ double chain.......... >,, 8 1 

Turn corners..^ « 8 

All polka.. 8 

Repeat until all are in places, after which all 
polka to seats. 

The couples are numbered. i 

THE PRINCE IMPERIALS. | 

(—) signifies eight bars. 

(=) signifies sixteen bars. I 

FIRST FIGURE. 

First and second couples advance, with right 1 
hands joined, to the couples on their right,bow, 
and retire into the opposite places, the gentle¬ 
men taking the side ladies with them by the left 
hand (—). In threes, advance and retire, after 
which advance to center. The four ladies then 
hand across, finishing by facing their partners 
(—). All then set to partners, and turn( —). 









GUIDE TO DANCING. 


69 


Repeat to places. When side couples have 
repeated the above, the figure will be com¬ 
pleted. 

SECOND FIGURE. 

The first lady and second gentleman advance 
and turn by the right and a half circle, raising 
the hands, whilst the second lady passes under¬ 
neath to the first gentleman (—). First and 
second couples then advance and retire, followed 
by half Ladies' Chain to places (—); all then 
chassez croise. With their right hand chain with 
the lady at the right-hand corner, giving left 
hand to partner to places (—). This is done in 
all four times, each lady and opposite gentle¬ 
man leading. 

THIRD FIGURE. 

First couple advance and retire, the gentle¬ 
man leaving his lady in the center, facing him; 
both then bow. Second, third, and fourth gen¬ 
tlemen repeat this in rotation (==). The four 
ladies now join hands, back to back, promenad¬ 
ing once round to the right, afterwards present¬ 
ing their right hands to partners and left hands 
to gentlemen on the left (—). All then balance 
in circle and turn to places (—). This is done 
four times in all, each couple leading in turn. 

FOURTH FIGURE. 

First and second couples advance and retire. 
Advance again; this time the second lady re- 



70 


GUIDE TO DANCING. 


maining on the left of the fourth gentleman j 
whilst the first gentleman passes over to the 
right of the third lady (—). The side lines of 
three advance and retire; advance again, bow, 
and retire (—). The first lady and second gen¬ 
tleman now advance and retire; again advance, 
turn once in the center, and face partners (—). 
The first and third couples and the second and 
fourth form two small circles. Hands across ) 
half round, and half right and left to places (—). 
The whole of this movement is repeated by the 
first and second couples, as also by the side j 
couples. 

FIFTH FIGURE. 

The four gentlemen give their right hands 
to corner ladies, followed by hand chain (=). / 
First lady and second gentleman then advance / 
and retire; re-advance and turn in center, fin- 
ishing by facing partners (—). First and sec¬ 
ond couples set and turn partners (—). This 
has to be done four times, each lady and gentle- 
- man leading in turn. The figure finishes with 
hand chain and the four gentlemen leading 1 
their partners to the center and bowing, the la y 
dies curtsying. I 




73 


GUIDE TO DANCING. 

THE WALTZ COTILLION. 

(—) signifies eight bars. 

(=) signifies sixteen bars 

The first couple waltz twice round inside set 
(=). First and second ladies then waltz across 
to opposite places (—), followed by third and 
fourth ladies (—). The first and second gentle¬ 
men now waltz across to the opposite sides (—), 
third and fourth gentlemen afterwards waltzing 
across to opposite side (—). First and second 
couples now waltz to places (—), after which 
the third and fourth couples waltz to places, 
concluding with waltz chain, which is as fol¬ 
lows :— 

The gentlemen should present their right 
hands to their partners balance, and then turn 
them by holding the ladies' hands above their 
heads. They (the gentlemen) then balance and 
turn the next ladies in a similar manner. While 
this is being done, the ladies should move round 
the circle to the left and the gentlemen to the 
right. The above movements constitute eight 
balances and turns, each balance and turn oc¬ 
cupying four bars, and thus bringing all couples 
to their original places—32 bars. Then all 
promenade half round to waltz time, with a 
step to each bar (=), after which waltz once 
round and finish at places( ). Repeat four 




72 


GUIDE TO DANCING. 


times, each couple leading in turn. When 
side couples lead, the side ladies are the first 
to cross over. 


THE ALBERTS. 

First figure. —First of the Quadrille. 

Second figure. —Second of the Caledonians. 

Third figure. —Third of the Lancers. 

Fourth figure. —Waltz Cotillion half 
through. 

Fifth figure. —Fifth of the Quadrille; 

LA NATION ALE, 

(—) signifies eight bars. 

(—) signifies sixteen bars 

ENGLAND.—FIRST FIGURE. 

Balance to partners. Balance to corners. 
* Four advance and retire, advance and waltz 
with opposite partners (—), again advance and 
retire, advance and waltz with partners to places 
(—). Hands all round, advance, retire, and turn 
corners (—). Hands all round, advance, retire, 
and turn partners (—). 

The sides repeat from *. 

WALES.—SECOND FIGURE. 

Four ladies advance and retire, advancing, 
crossing right hands to opposite places ( —), 
four gentlemen advance and retire, advance 


GUIDE TO DANCING. 


73 


crossing right hands rejoining their ladies (—), 
demi-grande chaine nationale to places (—), 
and grand valse (=). 

Second time.—Four gentlemen advance and 
retire, advancing and crossing right hands to 
opposite places (—), four ladies advance and 
retire, advancing crossing right hands rejoining 
their gentlemen (—), demi-grande chaine na¬ 
tionale to places (—) and grand valse (=). 

SCOTLAND.—THIRD FIGURE. 

Balance to corners (—). Valse with corner 
partner to opposite places (—). Again balance 
to corners (—). Valse with corner to places 
(—). Repeat the whole till in places. Four 
laaies cross right hands to opposite places, whilst 
four gentlemen valse to right (—), meeting part¬ 
ners all valse to places (—), four gentlemen 
v,ross right hands to opposite places whilst four 
ladies valse to right (—), meeting partners, all 
valse to places (—). Finish with half-grande 
chaine (—), and all valse to places (—). 

IRELAND.—FOURTH FIGURE. 

The first and second couples waltz round (—), 
Grand moulin by (the four couples) (=),change 
sides (—), hands all round, turn corners (—), 
hands all round, turn partners (—), Repeat 
twice. 


74 


GUIDE TO DANCING. 


THE UNITED KINGDOM.—FIFTH FIGURE. 

Grande Chaine Nationale (=). The first 
couple promenade, the sides follow, all form two 
lines (—). The ladies walk to the right, the 
gentlemen to the left. Meeting one another 
at the bottom, they all valse to place (—). 
Grand valse (=). Repeat the whole three 
times, each couple starting promenade in turn. 
Final grande chaine nationale. To finish with 
the grand valse (twice round) and courtesy. 

THE GALOP. 

A very simple dance and at one time very 
popular, put now only introduced at the end 
of a programme. The music is two-four time, 
and as a rule played quickly. There are two 
kinds of steps used—one for going forward and 
the other for turning round. The forward 
movement is a perfectly natural one and will 
be easily understood. The turning movement 
is accomplished by using the ordinary waltz 
step, counting one and two, one and two, let¬ 
ting the second and fifth steps come in at the 
word “and.” 

Position.—Right foot in front. 
steps for forward movement (General). 

FIRST STEP. 

Slide the left foot to second position with a 
gentle spring on the right. 


GUIDE TO DANCING. 


75 


SECOND STEP. 

Bring right foot up to the left, with a light 
spring on left. 

Repeat ad lib., remembering to keep the left 
foot in front. 


THE POLKA MAZURKA. 

A much neglected, though simple and ele¬ 
gant dance. It is in three-four time, and con¬ 
sists of six steps, on the last of which a half turn 
is made. Position.—Third, right foot in front. 


the steps (Gentlemen). 


FIRST STEP. 
First step of the polka. 


SECOND STEP. 

Second step of the polka. 


THIRD STEP. 

Draw the left foot back to the side of the right 
leg, the toe being pointed downwards and off 
the floor, then hop on the right foot. 

FOURTH, FIFTH AND SIXTH STEPS. 

Polka half round. 

The first three steps should be taken sideways, 
partners facing each other. 


?6 


GUIDE TO DANCING. 

THE COLLEGIANS. 

(—) signifies eight bars . 

(=) signifies sixteen bars 

FIRST FIGURE. 

First and second couples pass under side 
couples and bow, passsing through next couple 
and bow (—). Ladies advance to center, bow 
and retire. Gentlemen advance to center, bow 
to corners (—) and waltz (—). Other couples 
repeat. 

SECOND FIGURE. 

First and second couples advance to sides at 
right, retire, advance, change ladies, bow (—), 
advance, retire. Ladies’ chain (—). Top and 
bottom lines advance, retire, waltz to places 
(—). Other couples repeat. 

THIRD FIGURE. 

Join hands forming a circle, advance, retire, 
taking corner lady’s right hand and pause, bow 
in center (—), balance and turn, changing part¬ 
ners each time (—). Repeat four times. 

FOURTH FIGURE. 

Grand chain half round (—). Ladies advance 
to center and retire (—). Waltz half right and 
left with side couples at right (=). Repeat four 
times. 


GUIDE TO DANCING. 


77 


FIFTH FIGURE. 

Bow, first and second couples advance to 
center, and retire to sides at right (—). Side 
couples dividing, meeting top and bottom ad¬ 
vancing to center and retiring to places (—). 
First and second couples facing out, side couples 
fall in behind, divide right and left (—). Gen¬ 
tlemen join hands, ladies passing under, form 

lines, (—), advance, retire, turn partners (—). 
Join in a circle, advance, retire, and waltz to 

places (—). Other couples repeat (—). Fin¬ 
ishing with the first part. 

STANDARD LANCIERS. 

FIGURE 1. 

First four forward and back with the right 
hand couple. 

Turn opposite with both hands. 

Cross right hands by fours, circle half round. 
Left hands back to place. 

Balance to corners. Turn corner both hands. 

figure 2. 

All forward and back. 

Ladies forward to center. 

Gentlemen promenade around to the left. 

All circle to the left once around. 

Second and fourth time gentlemen to the cen¬ 
ter 


78 GUIDE TO DANCING. 

FIGURE 3. 

First four forward and back with sides on the 
right. 

Forward and salute. 

Four ladies chain. 

Second and fourth time take gentlemen’s arm 
and promenade around, not crossing hands in 
the center. 

LAST FIGURE.—MUSIC NO. 5. 

Grand right and left half around. 

Eight hand to partner, turn half, and right 
and left to place. 

First couple face out, third and fourth fall in 
line. 

All slide four steps to the left. 

Balance forward with the left foot. Balance 
back with right foot. Slide to right, balance 
forward with right foot, balance back with left 
foot. 

Countermarch right and left. 

All forward and back. Turn partners with 
both hands to place. 

Note. —The balance is made by stepping for¬ 
ward with left foot (fourth position), point 
right to side (second position). 

Note. —The fourth number is omitted. 


GUIDE TO DANCING. 79 

DEER PARK LANCIERS. 

NO. 1. 

(The Arches.) All forward and back. 4 bars. 
Leads join hands with couples to right 

and around.-. 4 bars. 

(Arches.) Gentlemen take left hand of 
partners (leads face right, sides left), 
pass under side over, alternate, until 

in places. 8 bars, 

All forward to corners and turn corner 

partners. K . ... 8 bars. 

Second and fourth times sides to right. 

- NO. 2. 

(The Wreath.) All forward and 
back, ladies join hands. 8 bars. 

Gents joiu hands and pass once around 
to the right raising the arms pass 
right hand over head of partner form¬ 
ing wreath). 8 bars, 

All around to left and turn partners..8 bars. 

Four times. 

no. 3. 

(The Wheel.) All forward and back, 

salute opposite. 8 bars. 

Ladies cross right hands, pass to oppo¬ 
site places, turn and cross left hands, 
giving right to partner and return to 
place. 8 bars. 

The gentleman having gone to right to opposite place, will take 
partner’s hand, placing left on her shoulder, continue to place and 
salute. 

Four times. 









so 


GUIDE TO DANCING, 


NO. 4. 

(The Graces.) Side ladies give left 
hand to leading gentleman, right to 
lady, thus joined forward and back 
twice . 8 bars. 

Pass hands to front, forward and back 

again. 4 bars. 

Three hands around and turn partners 

to place . 8 bars. 

Second and fourth times, leading 

ladies to sides. 

no. 5. 

(The Grand Square.) The square.. 16 bars. 

Leads forward and back, pass out to 

comers . 8 bars. 

All balance in line turn corner partners 8 bars. 

Forward and back, turn partners at 

place . 8 bars. 

Turn corners. 8 bars. 

Four times, finish with grand square. 








GUIDE TO DANCING. 


81 


THE MIGNON. 

The complete figure of the dance is performed 
during each sixteen bars of music, in the first 
eight of which the dancers execute a lateral and 
progressive movement, and in the remaining 
eight bars an evolution which is alternately ro¬ 
tary and progressive. Any number of separate 
couples may participate in the dance at the 
same time, as in the Waltz, Polka, Galop, etc. 

EXPLANATION OF THE STEPS, ETC. 

HOLDING PARTNERS. 

The lady places her right hand in the left 
hand of the gentleman, the left shoulder of both 
dancers being turned towards the center of the 
room. Thus placed, side by side, the dancers 
must hold their joined hands so as to form a 
graceful curve of the arms in a forward direc¬ 
tion. The disengaged left hand of the lady dur¬ 
ing the first eight bars may be occupied in hold- 


82 


GUIDE TO DANCING. 


ing her dress, while the right hand of the gen¬ 
tleman meanwhile should rest upon his right 
liip. During the second eight bars, the dancers 
hold each other as in the waltz and other round 
dances. 


BALANCE EN AVANT. 

Before commencing, place the outside foot 
(lady’s right, gentleman’s left) in third posi¬ 
tion, i. e., the heel of the front foot against the 
hollow of the rear one. Glide the outside foot 
forward, and rest upon same. Bring the hollow 
of the rear foot up to the heel of the front foot. 
Rise slightly on the toes of both feet, and drop 
the front heel only. (1 bar.) During this 
movement, the joined hands of the dancers de¬ 
scribe an upward curve. 

BALANCE EN ARRIERE. 

Withdraw the rear foot in a backward direc¬ 
tion. Close the front foot up to the rear one. 
Rise slightly on both feet and drop the heel of 
the back foot only (1 bar). In this movement 
the arms are lowered by a downward curve. 

DEMI-PIVOT ON LEFT FOOT. 

Glide left foot to side, transferring the weight 
of the body to the left leg. Draw right foot 
behind and about six inches to the rear of the 
left foot, the toe only of the right foot touching 
the floor. Revolve half a circle backwards to 


GUIDE TO DANCING. 


83 


the right, causing the rear foot to be brought 
to the front without either foot leaving the floor, 
finishing with the weight of the body still on 
the left leg (1 bar). 

DEMI PIVOT ON RIGHT FOOT. 

Glide right foot to side, transfer weight of 
body to right leg. Draw left foot behind, as 
already described for the left Demi Pivot. 
Complete the movement by revolving half a 
circle backwards to the left (1 bar). 

PAS GLISSE TO LEFT. 

Face partners without relinquishing hands, 
and glide left foot to the side, transferring the 
weight of the body to the left leg. Draw the 
right foot close up in front of the left, rising 
slightly on both feet. Drop the right heel, and 
transfer the weight of the body on to the right 
leg (1 bar). 


PAS GLISSE TO RIGHT. 

Glide right foot to the side, transferring the 
weight of the body to the right leg. Draw the 
left foot close up behind the right, rising slight¬ 
ly on both feet. Drop the left heel and trans¬ 
fer the weight of the body onto the left leg (1 
bar). , 




THE VALSE MINUET. 

This dance is divided into two parts—Minuet 
and Valse—the first occupying ten and the sec- 



84 


GUIDE TO DANCING. 


ond 32 bars of music, which are performed four 
times, the dance terminating with a “Valse 
Finale.” 

During the musical prelude of 8 bars, the 
gentlemen place themselves before their part¬ 
ners, to whom they make a polite bow; the 
ladies gracefully respond by a gentle inclination 
of their heads, and then rise from their seats, at 
the same time placing their left hands in the 
gentlemans’ right. Elevating their joined 
hands to a level with the shoulders and a little 
in advance of the body, the lady’s left and the 
gentleman’s right leg must be extended in an 
oblique direction towards each other, with the 
foot turned slightly forward so as to cause the 
lady and her partner to stand side by side. 

In this position, the first four bars of each 
minuet measure must be performed. 

first part. — (Minuet.) 

PAS MARCHE AND POINT (4 BARS). 

Commencing with inside foot (lady’s left, 
gentleman’s right) advance three paces with a 
stately promenade or march step, counting 
“one, two, three” (1 bar). Point outside foot 
(lady’s right, gentleman’s left) with the leg 
fully extended at the side in a straight line with 
the shoulders, counting “one”—pause, “two, 
three” (1 bar). Repeat the 2 bars by commenc¬ 
ing the march with the outside foot (1 bar), and 
pointing the inside foot (1 bar). 


GUIDE TO DANCING. 


85 


The lady and gentleman should keep their 
faces turned towards each other while executing 
the first and fourth bars, and in the opposite 
direction during the second and third bars. 

GLISSADE EN PASSANT (1 bar). 

Lady glides left foot to the side in the direc¬ 
tion of her partner (before whom she passes), 
then drawing right heel close up to hollow of 
left foot again glides left foot to the side (1 
bar). Gentleman performs a similar movement 
in the opposite direction (passing behind his 
partner) thus Glide right foot to side, draw 
left heel close up to hollow of right foot, and 
glide right again to side (1 bar). Above move¬ 
ment is performed simultaneously. 

PIROUETTE. 

Lady on the left foot, passing right in front, 
gentleman on right, passing left foot in front— 
simultaneously (1 bar). The 2 bars are then 
repeated in the opposite direction, the lady com¬ 
mencing with right foot, gentleman with left. 

Note.— In executing these four bars and 
dancers, in passing and repassing their part¬ 
ners, must keep parallel to each other, and both 
face the same way. 

ALLEMANDE AND SALUTE (2 bars). 

Lady and gentleman, giving right hands, 
raise them, with arms curved, beneath which 



86 


GUIDE TO DANCING, 


the lady pirouettes to her left; then, disengag¬ 
ing her hand, makes a deep curtsey as her part¬ 
ner bows. 


SECOND PART 
VALSE. 


Holding partners as for an ordinary circular 
dance, the couples perform 32 bars of the Valse 
a Trois Temps, during which the usual varia¬ 
tions of reversing, pursuing, etc., may be in¬ 
troduced at discretion. 

At the conclusion of the final valse, the gen¬ 
tleman, taking his partner’s hand as already de¬ 
scribed for the minuet, conducts her to her seat, 
which she resumes with a slow curtsy movement, 
the gentleman meanwhile bowing his acknowl¬ 
edgment of the favor conferred. 

The foregoing description is only intended to 
assist the pupil by affording a general idea of 
the dance. Many details are omitted which can 
only be correctly acquired from a competent 
teacher. 


THE VIRGINIA REEL OR SIR ROGER 

DE COVERLY. 


This dance was composed expressly for a fin¬ 
ishing country dance about one hundred and 
fifty years ago, and derived its name from Ad¬ 
dison’s “Sir Roger De Coverly,” so frequently 
mentioned by him in his popular essays in the 
Spectator (London). 





GUIDE TO DANCING. 


87 


FORMATION FOR THE VIRGINIA REEL. 

Two lines are formed, in one line all the 
gentlemen, the other all the ladies, each opposite 
to and facing partners, thus: 

Head Couple 

GENTS LADIES 

X 0 

X 0 

X 0 

X 0 

X o 

X o 

X o 

Foot couple. 

Figures condensed to dance from. 

Head lady and foot gent forward and back. 

Head gent and foot lady forward and back. 

Head lady and foot gent swing with right 
hand. 

Head lady and foot gent swing with left hand. 

Head gent and foot lady swing with left hand. 

Head lady and foot gent swing with both 
hands. 

Head gent and foot lady swing with both 
hands. 

Head lady and foot gent “dos-a-dos” (walk 
around each other). 

Head gent and foot lady “dos-a-dos.” 

Head couple swing one and one half, then 
the gent swing next lady, then partner, and so 


88 


GUIDE TO DANCING. 


on down the line; lady the same down gent’s 
line finishing at foot. 

Head couple up the center. 

March, the same as in the fifth number of the 
lancers, when meeting partner at foot of set 
the head couple form an arch, all passing 
through, which reforms both of the lines; the 
couple which was second will now be head, 
the couple which were head will be foot couple, 
then recommence. Five or six couple are all 
that are desired for each set. 

THE CARNIVAL. 

FIRST FIGURE. 

All bow to partners and corners (4 bars) ; 
gentlemen take ladies’ left hands in their right 
(as in barn Dance) ; first and second couples 
look to right, third and fourth look to left. All 
four couples barn dance forward and back (2 
bars) ; bam dance to opposite places (2 bars) ; 
barn dance forward and back (2 bars) ; turn or 
waltz (2 bars); Ladies’ chain (8 bars) ; Repeat 
whole of the above three times until regain 
places (48 bars). 

SECOND FIGURE. 

All join hands in circle once round (8 bars) ; 
advance to center and retire, gentlemen giving 
right hand to partners turning ladies back to 
back in center, join hands, gentlemen join hands 


GUIDE TO DANCING. 


89 


outside (8 bars). All once round by the right 
(8 bars). Gentlemen give right hands to part¬ 
ners, turn ladies outside, gentlemen back to 
back in center, join hands (8 bars), once round 
by left (8 bars), all waltz once round to places 
(16 bars). 


THIRD FIGURE. 

Grand Chain (polka step) (16 bars) ; four 
gentlemen give left hands across and right to 
partners, polka half way round, bow (8 bars), 
and polka to places (6 bars). First and second 
couples polka to side, right hands across (2 
bars) once round, return with left hand (8 
bars), join hands in circle of eight, and go once 
round by left (8 bars), grand chain (16 bars), 
gentlemen left hands across right hands to part¬ 
ners, half way round, bow (8 bars), polka to 
places (6 bars). Third and fourth couples 
polka, finishing facing first and second (2 bars), 
right hands across, once round, return with 
left hand (8 bars), join hands in circle of eight, 
once round by left (8 bars). All four couples 
Berlin polka step to centre and back, polka half 
way round. Berlin polka to centre and back, 
polka to places (16 bars). 

FOURTH FIGURE. 

All give right hands to corner ladies, balance, 
and turn ladies under arm back to back in 
centre (3 bars), bow (1 bar), giving right hands 


90 


GUIDE TO DANCING. 


again, balance, and turn ladies under arm, out¬ 
side, bringing gentleman back to back in 
centre (3 bars), bow (1 bar), waltz once round 
set (16 bars). Repeat same three times until all 
regain partners (72 bars). Finale, four gentle¬ 
men give right hand to partners, turn ladies 
back to back in centre, bow, and conduct lady to 
seat (5 bars). 


COLUMBIA LANCERS. 

FIRST FIGURE. 

Introduction . 8 

All forward to the right (each couple face 

to right and forward and back). 4 

Turn partners . 4 

Ladies forward and join hands in circle 

facing out . 4 

Balance . 2 

Ladies forward and form circle with gen¬ 
tlemen (ladies facing out and gentlemen 

facing out) . 2 

Balance . 4 

Turn partners . 4 


The second and fourth times, forward to the 
left, and gentlemen to centre. 

SECOND FIGURE. 

First four lead to the right and salute. 

Leave ladies with side couples and return to 
place. (First two gentlemen place their 


4 












GUIDE TO DANCING. 


91 


ladies to the left of the said gentlemen, 
forming two lines of three, facing the cen¬ 


ter, and return to places. 4 

Forward and back six. 4 

Ladies cross over. 4 

Forward and back six. 5 

All turn partners (to places). 4 

Second and fourth times sides lead. 

THIRD FIGURE. 

First four forward. 2 


Exchange ladies and return to places. (The 
exchange of ladies should be made by the 
gentlemen taking the ladies’ right hands 
in their left, the gentlemen turning so that 
they will move forward in conducting new 


partners to places. 2 

All join hands and salute. 2 

Retire to place. 2 


All chasse across. (All chasse across and 
salute comers, dechasse and salute part¬ 


ners) . 8 

Second and fourth times, sides lead. 

FOURTH FIGURE. 

First four lead to the right and salute. 4 


Separate and form lines with sides and sa¬ 
lute. (Separating, the gentlemen pass to 
the right of the side ladies, and the ladies 
pass to the left of the side gentlemen, form¬ 
ing two lines of four, facing the center, the 


j 













92 


GUIDE TO DANCING. 


lines salute each other). 4 

First four forward and salute. (The first 
gentleman and second lady forward to¬ 
ward each other, and the second gentle¬ 
man and first lady will do the same). 4 

First four right and left. 8 

Second and fourth times, sides lead. 

Note.— It will be seen that two gentlemen ex¬ 
change places each time the above number is 
danced, and all do not regain original places 
until the number is being danced the fourth 
time. 

FIFTH FIGURE. 


Four ladies half chain. 4 bars. 

Four gentlemen half chain. 4 

Four ladies half chain. 4 

Four gentlemen half chain. 4 


First couple promenade (gentleman taking 
lady’s left hand in his right, leads her 
around inside the set and finishes in place 8 

All chasse to the left. 2 

Dechasse . 2 

Turn partners. 4 

All face partners and march. (Gentlemen 
up the outside, ladies upon the inside, half 
around the circle and salute partners)... 8 


All forward and back. 4 

Eight hands around to place. 4 


Third, second and fourth couples in turn 
promenade. 













GUIDE TO DANCING. 


93 


Note. —In place of promenade, the two-step 
may be danced inside the set, eight bars. 


MILITARY LANCIERS. 

No. 1. 

Address (A la Militaire). 8 bars. 

First four grand right and left, (per¬ 
formed by two couples only). 8 bars. 


(When first four have almost finished the above, 
side four forward to center and form arches, 
third gent, with fourth lady, fourth gent with 
third lady, and is called.) 

Sides forward form arches, (taking 

their time from the above.). 8 bars. 

First couple pass under the arch, sec¬ 
ond couple separate and pass outside 4 bars. 
Second couple pass under, first couple 


outside . 4 bars. 

Turn corner with right hand, partner 

with left hand. 8 bars. 

Sides repeat. 

No. 2. 

Introduction . 8 bars 

All forward, gents in center back to 

back ladies return to places . 4 bars 

Address, (gents A la Militaire, ladies 

courtesy) . 4 bars 

Gentlemen chasse, and ladies sentinel 
march . 4 bars. 


(Gents four steps forward and four steps back 
to center, without turning, ladies march to corner 
of set, turn to right and return to place. 











94 


GUIDE TO DANCING. 


Turn partner to place. 4 bars 

All join hands, forward and back. 4 bars. 

Turn partners. 4 bars. 

No. 3. 

Introduction . 8 bars. 

All forward and back. 4 bars. 

Face partners, address (A la Militaire) 

and face the center of the set. 4 bars. 

Four ladies’ grand chain. 8 bars. 

No. 4. 

Introduction . 8 bars. 

First four lead to the right, address 

(Militaire) . 4 bars. 

Circle four hands half way round, ad¬ 
dress (Militaire) . 4 bars. 

Half right and left, side four right and 
left first four to place, sides to place 8 bars. 
Sides repeat, first four to left, etc. 

No. 5. 

Address (A la Militaire). Chord. 

Grand square . 16 bars. 

First couple promenade inside of the 
set, face out in place, third and 
fourth couple fall in line, face part¬ 
ners and address (A la Militaire).. 8 bars. 

Cross over, address (A la Militaire) 
same as chasse but use walking 
steps) .,... 4 bars 














GUIDE TO DANCING. 


95 


Cross back, address (A la Militaire).. 4 bars. 
Gents form arches, ladies march under 8 bars 

(The first and third gent join hands nearest 
each other without turning, fourth and second 
gents the same, which makes two single arches. 

First lady lead, march through the arch formed 
by the first and third gent, turn to the right and 
march through the other arch, and all face 


partners in two lines.) 

Forward and back in two lines. 4 bars. 

Turn partners to place. 4 bars. 


Third, second and fourth couple promenade inside of the 
set in the order named. 

Notes. —All the walking steps must be taken with a mili¬ 
tary air and precision. 

Each number to be played four times. 

Address only at the beginning of the first and fifth figure. 

Explanation of the Military Address. —Gentlemen 
raise the (usually) right hand, touch tips of fingers just 
above the temple, then carry the hand out diagonally from 
the head about twelve inches and drop the arm to the side. 

Ladies curtsy. 


POLKA. 

The Polka is a remarkably simple dance, as 
may be judged from the facility with which the 
time is mastered by those unacquainted with 
music or the proper steps. It is two-four time, 
and consists of three steps and one movement 
or rise. For this rise the majority of dancers 
substitute a momentary pause, but it must be 
clearly understood that the preliminary rise be¬ 
fore the first step in each bar, and which is 
really executed on the fourth beat of the pre¬ 
vious bar, gives all the necessary life and im¬ 
parts the lightness and grace that is requisite 
for the proper appreciation of this dance. Po¬ 
sition—third, right foot front. 




96 


GUIDE TO DANCING. 


THE STEP (GENTLEMEN). 

Preliminary rise:—Rise on the sole of the 
right foot, having the left foot raised behind 
and slightly pointed downwards without touch¬ 
ing the floor. 


FIRST step. 

Drop down on the right foot, and at the same 
time glide the left foot to second position, trans¬ 
ferring the weight of the body thereon. 

SECOND STEP. 

With a light spring on the left foot, bring the 
right quickly down to the place which the left 
foot occupied, at the same time raising the 
left. 


THIRD STEP. 

Spring on to the left foot, at the same time 
turning half round and drawing the right foot 
up behind, slightly pointed downwards. The 
three steps to complete the circle are the same 
as described, but made by commencing with 
the right foot, wdiich is the foot the lady com¬ 
mences with. These steps may be taken for¬ 
wards or backwards, and to right or left, by a 
slight alteration of the first step. 

All the steps should be made with elasticity, 
the knees slightly bent, and entirely on the 
toes. 



GUIDE TO DANCING. 


97 


THE SPANISH WALTZ. 

This dance can be performed by any number 
of double couples. The best arrangement is 
to place the couples in a complete circle, each 
alternate couple facing the opposite way to the 
next. This produces a series of small squares 
or sets, each consisting of two couples, facing 
one another. The same movements are exe¬ 
cuted in all the sets at once, so that the descrip¬ 
tion of one will serve for all. For the first part 
each couple advance to their vis-a-vis, retire, 
and waltz to opposite sides; repeat with partner. 
Again perform the first movement, then with 
partner to original places. Second Part.—All 
should join hands in a circle, advance and re¬ 
tire, the gentleman then turning the lady on 
his left hand over head, into his place, while he 
steps into hers; repeat this four times, when 
the original place will be reached. Third Part. 
—The couples now waltz twice around their own 
set and pass on, to meet the next couple, with 
whom the figure is repeated, continue this until 
your original vis-a-vis is met. 

The whole three parts are done to a waltz 
movement, but advancing, retiring, though 
occupying 1 bar each, must be done with only 
one step and a slight raising on the ball of the 
foot: it is impracticable to do three movements 
for each bar in this part. Also note that, in 
crossing, four short steps must be taken to the 




< 


98 


GUIDE TO DANCING. 


count 1, 2, 3, and turn done on 2 and 3, the 
gentlemen turning to the left, the ladies to the 
right. Care must be taken that the gentlemen 
start with the left foot and the ladies with the 
right. 

BERLIN POLKA. 

(by E. SCOTT.) 

This description of Karl Raps’ Berlin Polka 
is printed by permission of Messrs. Francis, Day 
& Hunter. 

The Berlin is a combination dance for couples, 
composed of two distinct parts, each part occu¬ 
pying four measures of music. 

FIRST PART. 

POSITION. 

The gentleman takes the lady’s left hand in 
his right, as in the Barn Dance, and they com¬ 
mence with their faces turned in the same di¬ 
rection. 

FIRST MEASURE. 

Polka step forward, the gentleman beginning 
with his left (i. e., outside foot) and the lady 
with her right. Count and, one, two, three. 

SECOND MEASURE. 

Point the foot nearest to partner (gentle¬ 
man’s right, lady’s left) in the fourth position 
(i. e., a little in advance), wdth the toes turned 
downward, and at the same time hop on the 
supporting leg, counting and, one, two. Then 


GUIDE TO DANCING. 


99 


bring the pointed foot to the fifth position (i. e., 
toe to the heel at right angles) behind the sup¬ 
porting leg, again hopping thereon in turning 
towards partner and joining opposite hands, 
while counting and, three, four. 

THIRD AND FOURTH MEASURE. 

Repeat the above movements in the opposite 
direction, the gentleman commencing with his 
right and the lady with her left foot. 

SECOND PART. 

The gentleman holds his partner by the 
waist, as in the waltz, and thus they dance four 
measures of the ordinary polka in turning twice 
to the right, after which they again join right 
and left hands, and recommence the first part. 

TRES chic. 

(a NEW ROUND DANCE FOR THE BALL-ROOM, 

BY W. LAMB.) 

Tres Chic is a dance for couples in six-eight 
time, and is of a very animated and lively char¬ 
acter. It is divided into two parts, each part 
occupying four bars of music. In the first part, 
the dancers execute a progressive movement, 
and in the second part, a movement that is in 
turn progressive and rotary. 

HOLDING PARTNERS. 

The position of partners in the first part is 
standing side by side, in the third position, i. e., 


100 


GUIDE TO DANCING. 


the heel of the front foot in the hollow of the 
rear foot, the right foot in front. The lady’s 
left hand should be resting lightly on the right 
hand of her partner, as in the Barn Dance. 

In the second part, partners dance together, 
as in the ordinary Round Dance—Polka, 
Waltz, etc. 

FIRST PART (4 BARS). 

FIRST BAR. 

The lady commences with her right foot, the 
gentleman with his left. 1st step: Point the 
foot in the fourth position, i. e., a little in ad¬ 
vance, meanwhile hop on the supporting leg. 
2nd step: Bring the pointed foot back to the 
third position in front, i. e., bring the heel of 
the pointed foot back to the hollow of the rear 
foot, and at the same time hop on the foot that 
is behind. 

SECOND BAR. 

Commencing with the front foot (lady’s 
. right, gentleman’s left), chasse, i. e., 1st step: 
Slide the foot to the fourth position; 2nd step: 
Bring the rear foot up to the front foot third 
position; 3d step: Again slide the front foot 
forward. 

THIRD AND FOURTH BARS. 

Repeat the above movements, beginning with 
the opposite foot (lady’s left, gentleman’s 
right). 


GUIDE TO DANCING. 


101 


SECOND PART (4 BARS). 

Holding as in the ordinary Round Dance, 
execute four chasses, and turn alternately. 1st 
bar: Commence with (lady’s right foot, gentle¬ 
man’s left) the chasse described above, and on 
finishing make a half turn to the right. 2d bar : 
Again chasse and turn. 3d and 4th bars, re¬ 
peat. 

Note.— In making the first step of the chasse 
in this part of the dance, slide the front to the 
second position, i. e., a little to the side, instead 
of to the fourth position, which is in front. 


WALTZ QUADRILLE. 

No. 1. 

First four forward and back. 4 bars. 

Ladies’ half chain. 4 bars. 

Chasse all. 4 bars. 

Four ladies cross hands, circle half 

around . 4 bars. 

Turn partners to places. 4 bars. 

First couple lead to the right. 4 bars. 

Four hands round to place. 4 bars 


Same four waltz. 

Sides repeat. 

No. 2. 

First two gentlemen forward and back 4 bars 


Lead to the left and salute. 4 bars. 

Take side lady and retire to place. 4 bars 

Forward six ..... 4 bars. 











102 


GUIDE TO DANCING. 


Circle half around. 4 bars. 

Side gentlemen cross over. 4 bars. 

Grand right and left to place. 8 bars. 

All waltz. 

No. 3. 

First couple face out, others fall in 

back . 8 bars. 

All face partners, salute. 4 bars. 

Two center couples double chasses.... 4 bars. 

Forward all and turn to place. 4 bars. 

First four waltz. 

Repeat four times. 

No. 4. 

First lady turn opposite gentleman 

with right hand. 8 bars. 

Side gentleman with left hand. 4 bars. 

Opposite with right hand. 4 bars. 

Partner with the left. 4 bars. 

First four forward, cross hands, circle 

to place . 8 bars. 

Side four forward, cross hands, circle 

to place . 8 bars. 

All waltz. 

HEEL AND TOE POLKA. 

The Heel and Toe Polka, or Bohemienne, is a 
rather eccentric but popular dance, specially 
adapted for children. The gentleman hops on 
right foot, and places left foot to the side in a 














GUIDE TO DANCING. 


103 


second position, with heel upon floor, toe up, 
count 1; hop on right and at same time place 
left foot behind in fifth position, toe on floor, 
heel raised, count 2; a bar of the polka follows, 
turning half round, then repeat the first two 
motions, with opposite foot, these to be followed 
by another bar of polka, half round, which 
brings him around to original position. This 
dance may be continued in every other bar, or 
alternate with four bars of the one slide or plain 
polka, or with the 3 side, or glide polka. 

CONTRA OR COUNTRY DANCES. 

This is a class of dance which derives its name 
from the manner in which the dancers are ar¬ 
ranged ( contre , opposite). In the quadrille, 
partners stand side by side, each couple forming 
the side of a square, but in the Contra Dances 
the partners of each couple stand opposite to 
and facing each other, the couples collectively 
forming two parallel lines. 

Dancing is essentially French in all its attri¬ 
butes, and the French names and technical 
phrases will doubtless continue to cling to the 
figures and movements used in dancing. The 
French “Contre Danse’’ became corrupted into 
the English “Country Dance” with that char¬ 
acteristic facility which the English people have 
of adapting foreign words to their own require¬ 
ments. If the name was to be Anglicised at all 


104 


GUIDE TO DANCING. 


it should have been “Contra Dance.” The 
variety of Contra Dances actually in use at the 
present day is very small, and the following 
is the most popular. 

ROUND DANCES. 

In the course of my explanations and descrip¬ 
tions of square dances, I have entered, as far 
as possible, into minute details of the move¬ 
ments necessary to perform the different figures. 
In the following pages on Round Dances I in¬ 
tend giving as clearly as I can, the directions for 
performing them properly, but my readers must 
not for a moment suppose that by simply read¬ 
ing the contents of this book they will actually 
be taught to dance. It has been frequently said 
that anybody can teach themselves to dance by 
reading a book. There are “Guides to Danc¬ 
ing,” “Dancing Without a Master,” etc., 
written for this purpose, in which the author 
distinctly says that if you correctly follow his 
instructions you will get a “distinctly good idea 
of what you ought to do,” leading you to sup¬ 
pose that it is the “distinctly good idea” that 
you want. This is indeed misleading. How is 
the reader of such works to know for certainty 
when he is right, even supposing he has followed 
out to the letter every little detail ? When is he 
able to say that he has got the “good idea”? 
And assuming he has arrived at this point, how 


GUIDE TO DANCING. 


105 


is he to acquire the necessary finish? In this 
essentially important item the book system fails 
altogether. Now, if he intends perfecting him¬ 
self he will go to a master and invariably com¬ 
mences by informing him that he does not know 
anything about dancing. Well, that would be 
excusable if he (the pupil) conscientiously acted 
up to it, but the “distinctly good idea” crops 
up here, and the master soon perceives it, much 
to his disgust, for trouble is then inevitable. 
With regard to the distinctly bad ideas which 
a reader of these books may have developed; 
how is he going to dispose of them? There is 
only one course open to him, and that is to 
go to a master. There are many to be found 
who are really ornaments to their profession. 
He can neither have his “guide to Dancing” af¬ 
terwards, or while under his master. I know by 
experience that all the written instructions in 
the “guides to Dancing” which have so far been 
published only tell you how to do it, and I 
would impress my readers that with the feet 
this mere explanation is of little use. If you 
wish to dance properly you must be shown; 
theory without practical knowledge is fallacious. 

ALSATIAN POLKA. 

The Alsatian is a combination dance composed 
of two distinct parts, each part occupying four 
measures of the music. 


106 


GUIDE TO DANCING. 


FIRST PART. 

This is the same as the first part of the 
Berlin Polka. 


SECOND PART. 

POSITION. 

The gentleman holds his partner by the waist 
as in the waltz, and executes four measures of 
the “glide” or “ Coquette” Polka. 

first measure (for the gentleman). 

Slide the left foot to the second position (i. e., 
a little to the side*), counting and, one, two. 
Bring the right foot up to the left, and simul¬ 
taneously slide the left again to the side 
(chasse), counting and, three, four; then again 
bring up the right foot, transferring the balance 
of the body to the right leg, counting. 

SECOND MEASURE. 

The same steps should be used as in the ordi¬ 
nary polka in turning to the right to face the 
opposite direction. 

third and fourth measures. 

Repeat the above movements, beginning with 
the opposite foot; after which again join right 
and left hands, and recommence the first part. 

The lady begins the circular movements with 
the right foot. 

N. B.—The above is the correct form of the 
dance, but if the pupil is unable to master the 


GUIDE TO DANCING. 


107 


steps of the “Coquette ,’ 1 four measures of the 
ordinary polka may be substituted, as in the 
“Berlin.” 

THE GIRL I LEFT BEHIND ME. 

(Formation—Six couples in a set; ladies face 
one way, gents opposite.) 

(The first call when music starts.) (Before 
starting, the head couple cross over.) Head 
couple with second lady down the center [4] 
leave lady (at foot) and head couple back [4] 
down (the) center with second gent [4] ; leave 
gent, and back to place [4] ; head couple down; 
the center [4] ; both couples back to places [4] ; 
right and left (at head of set) [8]. 

(Six times.) 

OLD DAN TUCKER. 

(Formation—A circle around the room, one 
or more Tuckers in the center without part¬ 
ners.) 

(The first call when music begins.) All bal¬ 
ance to Tucker [4] ; Allemande left [8] ; grand 
right and left [16] ; promenade all [8] ; all for¬ 
ward and back [4] ; all join hands, circle to the 
left [8]. 

(Repeat as often as desired.) 

it 

MONEY MUSK. 

(Formation—Six couples in a set, ladies on 


108 


GUIDE TO DANCING. 


one side, gents opposite. Ladies’ right is the 
head. 

(The first call when music begins.) Head 
couple swing once and a half around [8] ; go 
between the second and third couple, and for¬ 
ward six [4] ; swing three-quarters around [4] ; 
forward six [4] ; swing three-quarters around 
[4] ; right and left (or double chasse) [8]. 

(After the head couple has passed the third 
couple, call head couple swing once and a half 
around. Repeat as often as desired.) 

NOYELTINA. 

ANOTHER NEW ROUND DANCE. 

The Noveltina is a dance for couples, divided 
into two parts, each part occupying 4 bars of 
music. In the first part the dancers execute 
a tour de main and, in the second, 4 bars of or¬ 
dinary waltz. 

first part (4 Bars). 

HOLDING PARTNERS. 

Stand in the third position, right foot in 
front, i. e., the heel of the front foot in the hol¬ 
low of the back foot, facing each other. Each 
should be a little to each other’s right, the lady 
with her back to the wall, the gentleman with 
his back to the middle of the room, with right 
hands joined and slightly raised. 


GUIDE TO DANCING. 


109 


FIRST BAR. 

The lady commences with her right foot, the 
gentleman with his left. First step: Slide the 
foot forward (fourth position) and transfer the 
balance to same. Second step: Bring the hol¬ 
low of the back foot up to the heel of the front 
foot (third position), transferring the weight to 
the foot behind. Third step : With a slight hop 
on the rear foot, raise and extend the front foot 
(fourth position). Fourth step: Bring the 
heel of the front foot down to the hollow of the 
back foot (third position), still keeping the 
weight on the rear foot. 

SECOND BAR. 

Commencing with the front foot (lady’s 
right, gentleman’s left), make three marching 
steps so as to move around each other, counting 
1, 2, 3, and on the fourth beat bring the rear 
foot (lady’s left, gentleman’s right), with a 
slightly circular step, in front of the forward 
foot (third position). This movement should 
bring the dancers half round and facing the op¬ 
posite direction. 

THIRD AND FOURTH BARS. 

Repeat the above movements, starting with 
the opposite foot (lady’s left, gentleman’s 
right), back to original place. 


110 


GUIDE TO DANCING. 


second part (4 bars). 

Holding the lady by the waist, as in the 
Polka, etc., waltz 4 bars, as in the Barn Dance. 

THE SCHOTTISCHE. 

This, like the Polka, is a very simple and ef¬ 
fective dance; its time is four-four, or common 
time. The first part may appear to bear a re¬ 
semblance to the Polka, but there is a consider¬ 
able difference in the nature of the movements 
when they are properly executed. It consists 
of two parts, each differing in character, and 
occupying together four bars of music. The 
first part consists of eight steps, or rather six 
steps and two hops; and the second part is a 
rotary movement accomplished by four hops 
on alternate feet, describing two turns, or waltz¬ 
ing twice round. The latter style of performing 
the second part has become very general, and 
its accomplishment is helped by counting “one 
and two,” “three and four,” the second and 
fifth waltz steps being taken lightly and rapidly 
to the word “and.” Position.—Third, right 
foot front. 

The Steps (Gentlemen). 
first part (2 Bars). 

FIRST STEP. 

Bend both knees slightly, and slide the left 
foot to second position, resting the weight of 
the body thereon. 


GUIDE TO DANCING. 


Ill 


SECOND STEP. 

With a light spring on the left foot bring the 
right to the place of the left, and in so doing 
point the latter in the second position, slightly 
raised. 


THIRD STEP. 

Transfer the whole weight of the body to the 
left leg while bending knee, and simultaneously 
raise the right foot behind to third position, 
with toe pointed downwards. 

FOURTH STEP. 

Hop very slightly on the left foot. Repeat 
the movement, commencing with the right foot 
(the foot the lady commences with), finishing 
with the weight of the body on the right leg. 
This completes two bars, and should be counted: 
—“one, two, three, hop,” “one, two, three, 
hop.” 

second part (2 Bars). 

FIRST STEP. 

Transfer the whole weight of the body to the 
left leg while bending knee, and simultaneously 
raise the right foot behind, third position, with 
toe pointed downwards. 

SECOND STEP. 

Hop very slightly on the left, and in doing so 
turn half round. 


112 


GUIDE TO DANCING. 


THIRD STEP. 

Right foot down. 

FOURTH STEP. 

Hop, turning half round. 

Repeat the above four steps. 

The second part is now generally waltzed, and 
is accomplished as explained. 

BARN DANCE. 

This popular dance should be called the 
“Military Schottische, ” that being the name 
by w T hich it was first known in England, some 
ten years ago. Our American cousins frequent¬ 
ly danced it to a popular tune called “Dancing 
in the Barn,” and the abbreviation of this has 
given us our present Barn Dance. 

The position of partners for the first part (4 
bars) is standing side by side, the lady’s left 
hand resting lightly in the right hand of her 
partner. 

In the second part (4 bars) partners dance 
together as in any ordinary round dance. 
Position:— 

first part (4 Bars). 

FIRST STEP. 

Slide the left foot to fourth position. 

SECOND STEP. 

With a slight spring on the left bring the 
right foot to the place of the left, and in so do- 


GUIDE TO DANCING. 


113 


ing point the latter (slightly raised in front) in 
the fourth position. 

THIRD STEP. 

Spring forward on the left foot, raising the 
right behind. 

FOURTH STEP. 

Make a slight hop on the sole of the left foot, 
and extend the right in front with toe pointed 
downwards. 

Repeat the movement, commencing with the 
right foot (the foot the lady commences with). 
The two movements are again repeated to com¬ 
plete the first four bars. 

second part (4 Bars). 

Holding, as in an ordinary round dance, the 
couple waltz four bars as explained in the 
Schottische. 


THE MILITARY DIP. 

The “Military Dip” differs from the old dip 
waltz danced a generation ago in having a dip 
to each move instead of every third movement. 

Here is a description of it. 

Side waltz position, man facing in forward 
marching direction, woman facing toward rear, 
both with left foot in fourth position front. 
Man dips forward on left, woman backward on 
right. Count one, two, three, dip in the other 
direction; count one, two, three. Man steps 


114 


GUIDE TO DANCING. 


forward on left, counts one, two, three; forward 
on right, counts one, two, three, at the same 
time making a quarter turn to the right; four 
measures in all for the first part. 

Second part—Waltz four measures man com¬ 
mencing with left foot. 


GUIDE TO DANCING. 


115 


THE HIGHLAND SCHOTTISCHE. 

This was originally “The Balmoral/’ a com¬ 
bination of the Schottische and Highland Fling 
or Reel. An extremely vigorous dance to four- 
four or common time, and very popular with 
advanced pupils; allowing them to introduce a 
variety of dexterous steps which in any dance 
but this would be considered bad form. 

Like the Barn Dance, it occupies 8 bars of 
music, and is divided into two parts of 4 bars 
each. 

In order to perform the first part, the couples 
should face each other at a very short distance, 
both commencing with the right foot, the left 
arms raised above the head and the right arms 
akimbo. 

The Steps.—Position.—Third, right foot in 
front. 

FIRST PART. 

FIRST STEP. 

Spring upwards from both feet and alight on 
the left foot (toes) with the right foot pointed 
in the second position. 

SECOND STEP. 

Hop on the left and simultaneously bring the 
right behind the left. 

THIRD STEP. 


Repeat the first. 


116 


GUIDE TO DANCING. 


FOURTH STEP. 

Repeat the second step, but instead of bring¬ 
ing the right foot behind it, let it pass in front. 

FIFTH, SIXTH, SEVENTH, AND EIGHTH STEPS. 

Schottische step to right. 

In the last four steps the dancers pass away 
from each other. 

Repeat the eight steps, beginning with the left 
foot. 

The last four steps should bring the dancers 
opposite each other again. 

SECOND PART. 

Link right arms, each raising the left, place 
the right foot down and hop, counting one, two, 
then place left foot down and hop, counting 
three, four; repeat counting one, two, three, 
four, while doing this begin to move forward 
and round each other. During the last hop re¬ 
lease the partner’s right arm and link left, now 
raise the right and make a corresponding tour 
in the reverse direction with the same steps. 

In finishing the last hop, separate from your 
partner and commence the first movement by 
pointing the right foot, with a slight hop on the 
left. 


THE GRAZIANA. 

The dance is divided into two parts, each oc¬ 
cupying 16 bars of music. The first part is a 


GUIDE TO DANCING. 


117 


stately movement in slow two-four time, emi¬ 
nently calculated to promote a graceful carriage 
of the person, whilst at the same time an elegant 
style of extending the leg and pointing the foot 
is also cultivated and developed. 

For the second part of the dance the Polka or 
any of its variations may be performed. 

GENERAL DIRECTIONS. 

In commencing the dance the lady places her 
left hand in the right hand of the gentleman. 
Ill the fourth bar, the dancers face their part¬ 
ners with hands joined, and in this position the 
dance is continued during the next three bars. 
In the eighth bar, with the hands still joined, 
the couple make a deini-tour. 

The 8 bars are then repeated, after which 
16 bars of a polka or similar movement follow. 

The combined measure of 32 bars can be con¬ 
tinued at discretion. 

Throughout the entire dance, the lady exe¬ 
cutes all her steps with the opposite foot to that 
of her partner. 

Description of the Gentleman’s Step. 

FIRST HALF BAR. 

Bending the right leg slightly, glide the left 
foot forward to fourth position, keeping the 
left leg fully extended and the foot well pointed 
to the floor. 


118 


GUIDE TO DANCING. 


FIRST BAR. 

Transfer the weight of the body on to the left 
leg (1), and glide the right foot forward to the 
fourth position (2). 

SECOND BAR. 

Repeat the movement by transferring the 
balance of the body to the right leg (1), and 
pointing the left at fourth position (2). 

THIRD BAR. 

Commencing with the left foot, march two 
steps—left foot (1), right foot (2),—executing 
each step with fully extended leg, so that the 
point of the foot touches the floor first. 

FOURTH BAR. 

Making a quarter turn on the right foot to 
face partner, glide left foot into second position, 
at the same time transfer the weight of the body 
on to the left leg, leaving the right extended 
at the side in second position (1). The gentle¬ 
man now takes his partner’s right hand with 
his left, without relinquishing the other joined 
hand, and, rising slightly on the left leg, draws 
his right foot into the third position behind, 
receiving the weight, of his body on the right 
leg, and simultaneously bending both knees 
gently (2). 


FIFTH BAR. 

Glide the left foot to second position (1), and 


GUIDE TO DANCING. 


119 


again draw the right foot behind, as in the pre¬ 
vious bar (2). 


SIXTH BAR. 

Glide left foot again to second position (1), 
and keep the right foot extended at the side (2). 

SEVENTH BAR. 

Beginning with the right foot, march two 
steps in a semicircle to change place with part¬ 
ner. (Demi-tour a deux mains.) 

EIGHTH BAR. 

Disengage the right hand, and draw the right 
foot close up to and in front of the left foot, at 
the same time turning a quarter circle to the 
right so as to finish side by side with partner 
(1). Bend left leg slightly, and point right foot 
to fourth position (2). 

The above 8 bars are then repeated, the gen¬ 
tleman beginning with his right foot, the lady 
with her left foot. In the ensuing 16 bars of 
music the Polka or any circular movement in 
two-four time may be danced. 

THE MIGIONETTE. 

The complete figure of the dance is performed 
during each sixteen bars of music, in the first 
eight of which the dancers execute a lateral and 
progressive movement, and in the remaining 
eight bars an evolution which is alternately 


120 


GUIDE TO DANCING. 


rotary and progressive. Any number of sepa¬ 
rate couples may participate in the dance at the 
same time, as in the Waltz, Polka, Galop, etc. 

Explanation of the Steps, etc. 

HOLDING PARTNERS. 

The lady places her right hand in the left 
hand of the gentleman, the left shoulders of both 
dancers being turned towards the centre of the 
room. Thus placed side by side, the dancers 
must hold their joined hands so as to form a 
graceful curve of the arms in a forward direc¬ 
tion. The disengaged left hand of the lady 
during the first eight bars may be occupied in 
holding her dress, whilst the right hand of the 
gentleman meanwhile should rest upon his right 
hip. During the second eight bars, the dancers 
hold each other as in the Waltz and other round 
dances. 


BALANCE EN AVANT. 

Before commencing, place the outside foot 
(lady’s right, gentleman’s left) in third posi¬ 
tion, i. e., the heel of the front foot against the 
hollow of the rear one. Glide the outside foot 
forward, and rest upon same. Bring the hollow 
of the rear foot up to the heel of the front foot. 
Rise slightly on the toes of both feet, and drop 
the front heel only. (1 bar). During this 
movement, the joined hands of the dancers de¬ 
scribe an upward curve. 


GUIDE TO DANCING. 


121 


BALANCE EN ARRIERE. 

Withdraw the rear foot in a backward direc¬ 
tion. Close the front foot up to the rear one. 
Rise slightly on both feet and drop the heel of 
the back foot only (1 bar). In this movement 
the arms are lowered by a downward curve. 

DEMI-PIVOT ON LEFT FOOT. 

Glide left foot to side, transferring the weight 
of the body to the left leg. Draw right foot 
behind and about six inches to the rear of the 
left foot, the toe only of the right foot touching 
the floor. Revolve half a circle backwards to 
the right, causing the rear foot to be brought to 
the front without either foot leaving the floor, 
finishing with the weight of the body still on the 
left leg (1 bar). 

DEMI-PIVOT ON RIGHT FOOT. 

Glide right foot to side, transfer weight of 
body to right leg. Draw left foot behind, as al¬ 
ready described for the Left Demi-Pivot. Com¬ 
plete the movement by revolving half a circle 
backwards to the left (1 bar). 

PAS GLISSE TO LEFT. 

Face partners without relinquishing hands, 
and glide left foot to the side, transferring the 
weight of the body to the left leg. Draw the 
right foot close up in front of the left, rising 
slightly on both feet. Drop the right heel, and 


122 


GUIDE TO DANCING. 


transfer the weight of the body on to the right 
leg (1 bar). 


PAS GLISSE TO RIGHT. 

Glide right foot to the side, transferring the 
weight of the body to the right leg. Draw the 
left foot close up behind the right, rising slight¬ 
ly on both feet. Drop the left heel, and transfer 
the weight of the body on to the left leg (1 bar). 

AMERICAN NATIONAL LANCERS, OR 

SARATOGA. 

(Adopted by N. A. T. D.) 

Commence by addressing partners, then all 
join hands with partners, and address center. 
“A general address.’’ 

FIRST FIGURE. 

Measures 
of Music. 

Introduction, address . 8 

First four backward and back with right 
hand couples . 4 

Measures 
of Music. 

Turn opposite with both hands, and return 

to place. 4 

First four (hands joined) pass between 

sides. 

Return outside, sides between, hands joined 4 

Address corners, turn cornel's. 8 

Sides repeat to right. 







GUIDE TO DANCING. 123 

SECOND FIGURE. 

Introduction . 8 

First four forward and back with right 

hand couples . 4 

Leave ladies in center facing partners, ad¬ 
dress . 4 

All forward and back. 4 

Turn partners to place. 4 

Promenade, arm in arm, around opposite 

couple . 8 

Sides repeat to right. 

THIRD FIGURE. 

Introduction . 8 

First four forward and back with right 

hand couples . 4 

Forward again, address, return to place.... 4 

Ladies’ chain (with same couple). 8 

Sides repeat to right. 

FOURTH FIGURE. 

Introduction . 8 

Measures 
of Music. 

First four lead to the right, address. 4 

Exchange ladies, lead to opposite, address.. 4 

Exchange ladies, lead to place, address cen¬ 
ter . 4 

Right and left with right hand couples.... 8 

Sides repeat, which will leave all in original 
places. 

Note.— Exchanging ladies, the gentlemen 
will extend right hand, ladies present left. 














124 


GUIDE TO DANCING. 


FIFTH FIGURE. 

Introductory chord—address partners. 
Grand right and left half way around, pass 


partner, turn and address. 8 

Reverse grand right and left back, address 

partner in place. 8 

First couple promenade around inside of 

set, face out. 4 

Third and fourth couples fall in line (in 
rear) . 4 


All forward and back (4 steps twice) sepa¬ 
rate, forming two lines, facing partners 8 
Head couple down center and back (hands 

joined) . 

All forward and back in two lines, turn 

partners to place. 8 

Couples promenade around inside and face 
out in rotation, as follows, first, third, second 
and fourth. End with first strain. Each num¬ 
ber to be danced four times, alternately by first 
four and sides. 

THE VARS 0VIANA. 

The Varsoviana was a very simple, easy dance, 
but such unwarrantable liberties were taken 
with it, and so vulgarly was it performed by the 
mass, that its existence was very brief, and it 
is now only thought of as a thing of the past. 

The first step was, in fact, nothing but the 
Polka with the knee well bent on the jette, or 








GUIDE TO DANCING. 


125 


third movement, turning half round, the oppo¬ 
site foot being slightly raised behind in fifth 
position; this occupies 1 bar. At 4 (the com¬ 
mencement of second bar), the bent knee is 
gradually straightened (without any jerk), and 
the other foot at the same time being gracefully 
slid into the second position, the toe being ex¬ 
tensively pointed, and the head and body in¬ 
clining towards it, pausing in that position till 
the remainder of the bar is finished. 

The same step is again performed with the 
right foot, and continued alternately for 16 
bars, each step requiring 2 bars of music for its 
completion. 

The first movement is repeated eight times. 
The second step consists of the first part of the 
Polka-Mazurka (where the beat behind occurs). 
This is done twice, occupying 2 bars of music, 
and followed by one step of the first movement, 
requiring 2 more bars. 

This step, as well as the third, requiring 4 
bars for its completion, is only performed four 
times. The first movement being repeated after 
each of them. 

The third part, improperly called Redowa, is 
in reality nothing but the first step danced 
three times, before pointing the foot in the sec¬ 
ond position, pausing; or in other words, it is 
the Polka movement danced with a bent knee 
three times successively before pointing the op¬ 
posite foot. 


126 


GUIDE TO DANCING. 


THE MINUET DE LA COUR. 

This graceful dance for one or more couples, 
is seldom seen in a modern ball-room, although 
at one time it was considered the most pleasing 
of all the many beautiful dances which our fore¬ 
fathers delighted in. 

One bar rest for the gentleman to take off his 
hat. 

One bar to prepare, and two bars to perform 
the bow of the gentleman and the curtsey of the 
lady. 

One waltz step in going forward, and in turn¬ 
ing half round to face each other (1 bar). 

One bar while preparing for the bow and 
curtsey, and 2 bars while performing them. 

Return to places in giving hands with Pas de 
Bourre forward, coupe backwards, the gentle¬ 
man then brings the left foot behind, and the 
lady the right foot forward (2 bars). 

After this the lady and gentleman always 
dance with the same foot (commence with 
right). 

Pas Grave forward in giving the hand (2 
bars). 

Coupe forward, coupe backward in facing 
each other. Jette to the right, Pas de Bourre 
behind and before. Coupe backwards, and 
bring the left foot behind (4 bars). 

Pas Grave forward, and Pas de Menuet for¬ 
ward in turning (4 bars). 


GUIDE TO DANCING. 


127 


Two Pas de Menuet to the right in passing 
before one another (4 bars). 

One waltz step, coupe backwards (2 bars). 

The gentleman then resumes his hat. 

Pas de Bourre forwards and assemble before 
(2 bars). 

Coupe backwards, and two battements, re¬ 
peating four times in going backwards (4 bars). 

Rise once, bend twice, sissonne with the left 
foot, coupe backwards, and bring the right foot 
forwards (4 bars). 

Pas Grave (to present the right hand), Pas 
de Bourre forwards, assemble before, and place 
the right foot at the right (4 bars). 

Two waltz steps, Pas de Bourre forward, 
coupe backwards, and place the right foot be¬ 
hind (4 bars). 

Pas Grave (to present the left hand), Pas de 
Bourre forwards, assemble before, and place the 
left foot to the left (4 bars). 

Two waltz steps, Pas de Bourre forwards, 
coupe backwards apd place the left foot behind 
(4 bars). 

Coupe forward, coupe backwards, then Pas 
de Bourre forward, assemble soutenu; left foot 
before (4 bars). 

Minuet step to the right (2 bars). 

Minuet step to the left (2 bars). 

Pas de Bourre behind and before, half around. 
Pas de Bourre behind and before, half around. 


128 


GUIDE TO DANCING. 


Pas de Bourre behind and before (done quick¬ 
ly). Rise and turn on the toes to bring the left 
foot forward, and change the feet (4 bars). 

Coupe forward, and assemble before, in bring¬ 
ing alternately one and the other shoulder for¬ 
ward. Repeat this three times. Slide the left 
foot to the left. Pas de Bourre behind and 
before, finishing with the left toe pointed be¬ 
hind (4 bars). 

Pirouette on both feet, finishing on the left 
foot, coupe backwards, and place the left foot 
behind (4 bars). 

Pas Grave (to present both hands), Pas de 
Bourre forward. Assemble before in facing 
each other. Turn half round in keeping the 
left hand of the lady. Place the left foot to the 
left for the gentleman, and the right for the 
lady (2 bars). 

Coupe forwards, coupe backwards (2 bars). 

Give both hands to each other, Pas de Bourre 
before and behind, coupe backwards, and place 
the left foot behind for the gentleman, and the 
right foot before for the lady (2 bars). 

Repeat the figures 1, 2, 3, 4, 5, to conclude. 

N. B.—There are five different Pas de Minuet. 
One to the right, two to the left, one forward, 
and one forward and turn round. All Pas de 
Minuet begin with the right foot and occupy 2 
bars. They are composed of one demi-coupe, 
which occupies 1 bar, and one Pas de Bourre 
occupying the other bar. 


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